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Work
15 selected works that integrate data-driven methodologies and collaborative engagements with both human and more-than-human agents. All serving as investigations of environmental stewardship, ecological interdependence and systemic social and economic injustices through conceptual art practice in the form of street art, studio work and curation.
Living London
2024. Moss, other native flora, recycled steel. Part of the series 'Living'.
Commissioned by Royal Borough of Kensington and Chelsea. Currently on loan to the Sainsbury Collection, University of East Anglia.
A living sculpture integrating moss within sacred geometric forms to foster ecological resilience. Moss acts as an active co-creator, enhancing biodiversity and purifying air through carbon sequestration and pollution absorption. Data such as particulate matter was collected before installation and throughout exhibition, with the societal benefits valued in monetary metrics.
Commissioned by Royal Borough of Kensington and Chelsea. Currently on loan to the Sainsbury Collection, University of East Anglia.
A living sculpture integrating moss within sacred geometric forms to foster ecological resilience. Moss acts as an active co-creator, enhancing biodiversity and purifying air through carbon sequestration and pollution absorption. Data such as particulate matter was collected before installation and throughout exhibition, with the societal benefits valued in monetary metrics.
Living London (Detail)
2024. Net benefit analysis of air quality, biodiversity, carbon sequestration, flood-risk reduction and community cohesion.
A desk-based analysis accompanied the evolving sculpture in order to measure active natural capital and social capital benefits and inform subsequent works in the series.
A desk-based analysis accompanied the evolving sculpture in order to measure active natural capital and social capital benefits and inform subsequent works in the series.
house
2008, PACK, Group Exhibition, The Ruskin, Oxford, UK, 579 newspapers, mortar, 5 foot 8 inches cubed.
"Man is separated from the past (even from the past only a few seconds old) by two forces that go instantly to work and cooperate: the force of forgetting (which erases) and the force of memory (which transforms). Beyond the slender margin of the incontestable (there is no doubt that Napoleon lost the battle of Waterloo), stretches an infinite realm: the realm of the approximate, the invented, the deformed, the simplistic, the exaggerated, the misinformed, an infinite realm of non-truths that copulate, multiply like rats, and become immortal."
Milan Kundera
The senses provide an infinite pulp of information. This is too much for indiscriminate internalisation, and so day-by-day we systemise it, categorising, ordering and patterning it into blocks of time. In the process we mould it into a certain shape, and store it in the recesses of our mind, our memory. The resulting artifice is at once simple in form yet complex in content; minimal and maximal. We can access it, but at the same time, it encloses us, and forms the space in which we live and move. It protects us, yet also entombs us; it is a home without windows or doors.
"Man is separated from the past (even from the past only a few seconds old) by two forces that go instantly to work and cooperate: the force of forgetting (which erases) and the force of memory (which transforms). Beyond the slender margin of the incontestable (there is no doubt that Napoleon lost the battle of Waterloo), stretches an infinite realm: the realm of the approximate, the invented, the deformed, the simplistic, the exaggerated, the misinformed, an infinite realm of non-truths that copulate, multiply like rats, and become immortal."
Milan Kundera
The senses provide an infinite pulp of information. This is too much for indiscriminate internalisation, and so day-by-day we systemise it, categorising, ordering and patterning it into blocks of time. In the process we mould it into a certain shape, and store it in the recesses of our mind, our memory. The resulting artifice is at once simple in form yet complex in content; minimal and maximal. We can access it, but at the same time, it encloses us, and forms the space in which we live and move. It protects us, yet also entombs us; it is a home without windows or doors.
The Alternative Art Trail
2021. Various serendipities of nature, digital map.
Installed for Kensington + Chelsea Art Week 2021.
Ephemeral street art and mindfulness converge around ecological serendipities—moss patterns, spontaneous wildflowers, and slithers of sky within a dense urban setting. This curated, digitalised walk spotlights "more-than-human" co-creations, weaving political and art-historical discourse to prompt reflective encounters with nature’s vibrant, fragile, and intangible collaborative agency.
Installed for Kensington + Chelsea Art Week 2021.
Ephemeral street art and mindfulness converge around ecological serendipities—moss patterns, spontaneous wildflowers, and slithers of sky within a dense urban setting. This curated, digitalised walk spotlights "more-than-human" co-creations, weaving political and art-historical discourse to prompt reflective encounters with nature’s vibrant, fragile, and intangible collaborative agency.
The Alternative Art Trail (Detail)
2021. Various serendipities of nature, digital map.
Installed for Kensington + Chelsea Art Week 2021.
Through a smart phone application offering three walking routes of varying lengths, participants navigated real-time, ephemeral encounters while digitally paired artworks and information layered political commentary and playful humour. This interactive interplay of on-screen messaging and urban ecology cultivated mindful observation, resonating during a pandemic era where heightened awareness of nature’s subtle artistry in urban settings provided relief.
Installed for Kensington + Chelsea Art Week 2021.
Through a smart phone application offering three walking routes of varying lengths, participants navigated real-time, ephemeral encounters while digitally paired artworks and information layered political commentary and playful humour. This interactive interplay of on-screen messaging and urban ecology cultivated mindful observation, resonating during a pandemic era where heightened awareness of nature’s subtle artistry in urban settings provided relief.
Symbiotic Study
2021 - 2025. Lichen, natural found objects, digital photography. (WIP).
Since 2021 native species of lichen have been cultivated and grown. Growth patterns were observed and documented. Samples were taken to different locations to observe the impacts of air quality on development, based on results the conditions for growth are altered. The lichen will be used to develop a ephemeral sculpture as part of a site-responsive commission for Messums West in 2026.
Since 2021 native species of lichen have been cultivated and grown. Growth patterns were observed and documented. Samples were taken to different locations to observe the impacts of air quality on development, based on results the conditions for growth are altered. The lichen will be used to develop a ephemeral sculpture as part of a site-responsive commission for Messums West in 2026.
every 'a'
Winner of the Kevin Slingsby Award, 2007. Installation and photographs.
When Jellyfish Rule The World
2024 - 2400. Installation incorporating augmented reality, AI, data and 2,400 individual jellyfish portraits. (WIP).
This installation envisions a post-human Earth dominated by jellyfish, whose proliferation is driven by rising sea temperatures from anthropogenic climate change. Utilising data from the Morris Kahn Marine Research Station, 2,400 unique jellyfish are algorithmically generated, each embodying distinct narratives that mirror today's societal flaws. Upon closer examination, the viewer learns that the jellyfish perpetuate hypercapitalist, misogynistic and racist tendencies, paralleling the behaviours that contributed to humanity's demise. These bioluminescent forms serve as cautionary tales, illustrating how climate-induced changes disproportionately benefit species like jellyfish. Via AR viewers can engage with individual stories, prompting reflection on resilience, societal evolution and the potential for positive transformation within a drastically altered environment. Through this work, the installation confronts the viewer with the unsettling possibility that even in a transformed world, entrenched flaws of sentient beings still persist.
This installation envisions a post-human Earth dominated by jellyfish, whose proliferation is driven by rising sea temperatures from anthropogenic climate change. Utilising data from the Morris Kahn Marine Research Station, 2,400 unique jellyfish are algorithmically generated, each embodying distinct narratives that mirror today's societal flaws. Upon closer examination, the viewer learns that the jellyfish perpetuate hypercapitalist, misogynistic and racist tendencies, paralleling the behaviours that contributed to humanity's demise. These bioluminescent forms serve as cautionary tales, illustrating how climate-induced changes disproportionately benefit species like jellyfish. Via AR viewers can engage with individual stories, prompting reflection on resilience, societal evolution and the potential for positive transformation within a drastically altered environment. Through this work, the installation confronts the viewer with the unsettling possibility that even in a transformed world, entrenched flaws of sentient beings still persist.
Cleaning Squares
2005 - 2025. Happenings, performance, photographic documentation.
Obsession - unstoppable, unbendable, unbreakable. In the depths of every human psyche lurks a constant fear. These fears manifest themselves in variations of erratic and irrational behaviour. Often to control these fears, control is subsequently lost.
Daily, die are rolled to determine time and location. Within these parametres perfect squares, the length of the artist's feet, are cleaned and labelled with the time and date of the job.
Obsession - unstoppable, unbendable, unbreakable. In the depths of every human psyche lurks a constant fear. These fears manifest themselves in variations of erratic and irrational behaviour. Often to control these fears, control is subsequently lost.
Daily, die are rolled to determine time and location. Within these parametres perfect squares, the length of the artist's feet, are cleaned and labelled with the time and date of the job.
Cleaning Squares
2005 - 2025. Happenings, performance, photographic documentation.
Since its inception in 2005, this ephemeral street art piece has generated 7,034 “clean squares” in 27 countries. By 2020, it gained renewed relevance as society became keenly attuned to the surfaces we touch and the concept of what it means to be “clean.” In 2025, the work continues to pose a simple question: do we really need more stuff in the world?
Since its inception in 2005, this ephemeral street art piece has generated 7,034 “clean squares” in 27 countries. By 2020, it gained renewed relevance as society became keenly attuned to the surfaces we touch and the concept of what it means to be “clean.” In 2025, the work continues to pose a simple question: do we really need more stuff in the world?
Seed The Change (Detail)
2024. A participatory installation and accompanying book.
Centred around a living silver birch tree, the work invited viewers to explore their relationship with London’s urban ecosystem and the air we breathe. Participants write a pledge for cleaner air, receive native wildflower seeds to plant and share planting locations.
Concurrently, the tree was planted and pledges written on wildflower luggage tags were sown in areas identified by the Greater London Authority for high particulate matter and poverty. In a year of record global elections, each pledge symbolises hope and a commitment to meaningful change. As wildflowers bloom in unexpected corners of London, the project weaves a collective narrative of air purification, biodiversity and community action, highlighting the interconnectedness of personal resolve, civic participation and nature’s regenerative response.
Centred around a living silver birch tree, the work invited viewers to explore their relationship with London’s urban ecosystem and the air we breathe. Participants write a pledge for cleaner air, receive native wildflower seeds to plant and share planting locations.
Concurrently, the tree was planted and pledges written on wildflower luggage tags were sown in areas identified by the Greater London Authority for high particulate matter and poverty. In a year of record global elections, each pledge symbolises hope and a commitment to meaningful change. As wildflowers bloom in unexpected corners of London, the project weaves a collective narrative of air purification, biodiversity and community action, highlighting the interconnectedness of personal resolve, civic participation and nature’s regenerative response.
Capital (Detail)
2020. Participatory installation, weighing scales, candles, coins.
Installed in disused buildings in Chelsea, London during the pandemic.
As viewers deposit currency, details of different fatal corporate failures are exposed, revealing how social capital valuations—kept unadjusted across socioeconomic and regional contexts—systematically devalue certain lives. By juxtaposing literal weight with the moral gravity of financial decisions, the work dissects the commodification of human life in global markets. This piece interrogates how “objective” economic methodologies obscure inequities, ultimately inviting participants to confront the ethical underpinnings of corporate capitalism and its disparate impacts on vulnerable populations.
Installed in disused buildings in Chelsea, London during the pandemic.
As viewers deposit currency, details of different fatal corporate failures are exposed, revealing how social capital valuations—kept unadjusted across socioeconomic and regional contexts—systematically devalue certain lives. By juxtaposing literal weight with the moral gravity of financial decisions, the work dissects the commodification of human life in global markets. This piece interrogates how “objective” economic methodologies obscure inequities, ultimately inviting participants to confront the ethical underpinnings of corporate capitalism and its disparate impacts on vulnerable populations.
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