My practice centers on metal objects that sit between sculpture and adornment as a way of thinking about form, gesture, and embodiment.

I use rhythm, weight, and tactile surfaces as devices for exploring the body as both subject and site of intimacy, devotion, and ritual. I am interested in how repeated physical gestures accumulate emotional weight and physical presence, as they move across states of habit, ritual, devotion, and abandonment. Gestures that recur in my work include holding and being held, binding and containment, circling and encircling, and pressure and release. These gestures trace such shifts through touch and scale, enacting states of devotion, waiting, tension, restraint, and return. Loops, convex volumes, iterative structures, and brushed textures that emphasise touch, weight, and proportion are forms that return across my work, allowing gesture to accumulate rather than resolve.

Currently, I work primarily in silver. Each object is hand-fabricated from sheet and wire using rhythm, repetition, and embodied gesture as guides. I treat surface as a record of gesture and intention. I use contrast deliberately to both direct and withhold attention, creating tension between visibility and concealment, embodiment and performance. Imperfection, visible tool-marks, and brushed, lived-in surfaces register erosion, supplication, and return, while highly polished, engineered surface finishes record calculation, anxiety, control. In this way, metal becomes a phenomenological record: a means of tracing how orientation and disorientation inscribe themselves on the body.

Phenomenology is foundational to my practice, and I work through it as a lived grammar that shapes how I make and understand objects and gestures. I draw from queer phenomenology and its attention to the ways bodies come into relation with space, objects, and one another. I am concerned with how repeated gestures, habits, acts of orientation, disorientation, and re-orientation structure the body’s sense of position, attachment, and direction. Grounded in phenomenological thought but worked through gesture and repetition, my practice considers the body as both instrument and altar – a site where choice, devotion, and embodied orientation are continuously negotiated.