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Work
15 selected works integrate data-driven methodologies such as carbon metrics, pollinator counts and child exploitation figures with collaborative engagements involving both human and more-than-human agents. By merging conceptual art practice in street art, studio installations and curatorial projects, these pieces challenge anthropocentric frameworks, invite community co-creation and generate verifiable ecological or social outcomes. Drawing on empirical evidence, multispecies collaboration and audience involvement in both gallery contexts and unconventional community-centred spaces, the works collectively investigate environmental stewardship, ecological interdependence and systemic social and economic injustices. In doing so, they apply frameworks that inform the proposed research on how eco-art can engage with or subvert capitalist logics by embracing posthuman ethics, ecosystem service valuation and principles of social sculpture.
Click on the first image to read more and scroll through the portfolio.
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.
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 (Detail)
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.
Cleaning Squares #0017
2005 - 2025. Happenings, performance, photographic documentation. Part of the series 'Cleaning Squares.'
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 (Additional Views)
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.
Little Voices (Curation)
2020. Curation of 50 artists identifying as marginalised in the abandoned Chelsea Telephone Exchange.
Shortlisted for the Creative Green Awards.
The exhibition brought together artists working with environmentalism or social justice as a theme, for whom money, distance or health prevented them from exhibiting, by printing or recreating on-site. 27 different countries were represented in this disruptive exhibition model.
In this image is Liz Elton's work which uses biodegradable corn-starch paper and behind it, is Eva Joy's (winner of The JUST Art Award 2024), "Once There Were Flowers," an installation which imagines a post-apocalyptic world in which children who have never seen nature try to draw flowers from the memory of elders.
Shortlisted for the Creative Green Awards.
The exhibition brought together artists working with environmentalism or social justice as a theme, for whom money, distance or health prevented them from exhibiting, by printing or recreating on-site. 27 different countries were represented in this disruptive exhibition model.
In this image is Liz Elton's work which uses biodegradable corn-starch paper and behind it, is Eva Joy's (winner of The JUST Art Award 2024), "Once There Were Flowers," an installation which imagines a post-apocalyptic world in which children who have never seen nature try to draw flowers from the memory of elders.
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.
Journey
2007. Found objects and mathematical formulae, drawing, books, installation, string and video.
Exploring the human tendency to imbue material objects with personal significance and the psychological complexities of hoarding behaviour. 1,237 discarded fragments were collected and categorised, documenting each with a unique numerical code and mathematical formula.
These data points informed a large-scale installation comprising found objects suspended within a web of string, inviting viewers to navigate a physical manifestation of memory and loss.
Exploring the human tendency to imbue material objects with personal significance and the psychological complexities of hoarding behaviour. 1,237 discarded fragments were collected and categorised, documenting each with a unique numerical code and mathematical formula.
These data points informed a large-scale installation comprising found objects suspended within a web of string, inviting viewers to navigate a physical manifestation of memory and loss.
Journey (Details)
2007. Found objects and mathematical formulae, drawing, books, installation, string and video.
The work, presented alongside video projections and textual excerpts, prompts reflection on the subjective nature of value, the role of material objects in shaping personal narratives, and the challenges of differentiating between the essential and the extraneous in an attempt to manage anxieties surrounding memory and identity.
The work, presented alongside video projections and textual excerpts, prompts reflection on the subjective nature of value, the role of material objects in shaping personal narratives, and the challenges of differentiating between the essential and the extraneous in an attempt to manage anxieties surrounding memory and identity.
six thousand five hundred
2022. 6,500 shoelaces, football net, live performance.
During the 2022 World Cup Final, a goalpost was erected in London's Guildhall. Passersby were silently invited to tie a shoelace to its crossbar, each one representing one of the 6,500 migrant workers who died in Qatar since the World Cup was awarded one decade ealier. Tying a lace offered a moment of quiet reflection amidst the city's World Cup fever. The resulting sculpture of 6,500 shoelaces served as a poignant reminder of the human cost of the tournament, transforming silent observation into active remembrance.
During the 2022 World Cup Final, a goalpost was erected in London's Guildhall. Passersby were silently invited to tie a shoelace to its crossbar, each one representing one of the 6,500 migrant workers who died in Qatar since the World Cup was awarded one decade ealier. Tying a lace offered a moment of quiet reflection amidst the city's World Cup fever. The resulting sculpture of 6,500 shoelaces served as a poignant reminder of the human cost of the tournament, transforming silent observation into active remembrance.
Value (Details)
2008. Installation, found objects, steel cubes, maps, documentary photography.
Installed for Vendi Eventi, Sabina, Italy.
This piece foregrounds the subjective nature of value and its ties to memory and personal experience. In Toffia, Italy and in Thorner, UK, a communal exchange was launched between the two villages, offering hand-welded steel cubes for items deemed of equal worth by participants. The collected objects, each bearing a unique narrative, culminated in an exhibition inviting further public interaction. This social sculpture, actively reshaped connections, fostering dialogue around shared values. Documented in the accompanying image, the assemblage formed a tangible record of collective memory and personal stories. The later sale of these pieces as “lucky dip” objects extended the exploration of commodification and meaning, challenging how worth and significance are constructed within the art world. The piece itself posed questions of the value we place on inanimate objects and posited notions of memory, collection and sentiment.
Installed for Vendi Eventi, Sabina, Italy.
This piece foregrounds the subjective nature of value and its ties to memory and personal experience. In Toffia, Italy and in Thorner, UK, a communal exchange was launched between the two villages, offering hand-welded steel cubes for items deemed of equal worth by participants. The collected objects, each bearing a unique narrative, culminated in an exhibition inviting further public interaction. This social sculpture, actively reshaped connections, fostering dialogue around shared values. Documented in the accompanying image, the assemblage formed a tangible record of collective memory and personal stories. The later sale of these pieces as “lucky dip” objects extended the exploration of commodification and meaning, challenging how worth and significance are constructed within the art world. The piece itself posed questions of the value we place on inanimate objects and posited notions of memory, collection and sentiment.
War Games
2023 - 2024. Interactive street art pieces, vinyl floor stickers, data.
Part of the series "Games" investigating child victims of adult conflicts.
"War Games" highlights child casualties in war using apolitical data integrated into a playful hopscotch format. Juxtaposing the innocence of childhood games with the stark reality of child casualties in conflict zones. Pastel hopscotch grids, "popped up" in unexpected locations across the UK, incorporating data points that subtly reveal devastating statistics. By actively engaging with the work, viewers are invited to contemplate the human cost of conflict and reject the notion that any child should suffer as a result of war.
Part of the series "Games" investigating child victims of adult conflicts.
"War Games" highlights child casualties in war using apolitical data integrated into a playful hopscotch format. Juxtaposing the innocence of childhood games with the stark reality of child casualties in conflict zones. Pastel hopscotch grids, "popped up" in unexpected locations across the UK, incorporating data points that subtly reveal devastating statistics. By actively engaging with the work, viewers are invited to contemplate the human cost of conflict and reject the notion that any child should suffer as a result of war.
Dope Games
2023 - 2024. Interactive street art pieces, vinyl floor stickers, data.
Part of the series "Games" investigating child victims of adult conflicts.
"Dope Games" was installed throughout various art fairs during Miami Art Week. This work subverts the familiar joy of hopscotch to expose the devastating reach of the drug trade. Rendered in a deceptively innocent palette of pastels, the installation invited viewers to engage with the work, only to discover a stark reality beneath the surface. Each "hop" reveals data highlighting the exploitation of children within the global narcotics industry, prompting a confrontation with the commodification of childhood across geographical and socioeconomic boundaries. By encouraging interaction with the work, "Dope Games" urged collectors to reject complacency and consider their role in combating this crisis.
Part of the series "Games" investigating child victims of adult conflicts.
"Dope Games" was installed throughout various art fairs during Miami Art Week. This work subverts the familiar joy of hopscotch to expose the devastating reach of the drug trade. Rendered in a deceptively innocent palette of pastels, the installation invited viewers to engage with the work, only to discover a stark reality beneath the surface. Each "hop" reveals data highlighting the exploitation of children within the global narcotics industry, prompting a confrontation with the commodification of childhood across geographical and socioeconomic boundaries. By encouraging interaction with the work, "Dope Games" urged collectors to reject complacency and consider their role in combating this crisis.
When Jellyfish Rule The World (Detail)
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.
The JUST Art Award
2023 - ∞. An award in which 50% of all profits made from the artists work will be given away to other deserving artists on an annual basis.
A conceptual artwork in its own respect, The JUST Art Award comes from a commitment by the artist to give away 50% of all profits from her art sales in life and in death. The award provides ethical visual artists a fund to focus on their practice. “It’s not just about giving a voice to those otherwise unheard but trying to demonstrate by example, a new way of living and thinking about money”. Artists who win, will be producing groundbreaking work, ethical by theme or practice and will be set to benefit most from the money owing to the challenges they face.
All winning and highly commended artists are also offered to be exhibited as part of a a curatorial project entitled "Social Justice Art of the Twenties". This intervention, featuring at least 50 marginalised artists each time, that explore environmental and social justice through their practice, employs an on-site printed and framed exquisite corpse. Artists have included refugees who only had copies of their work digitally from Iraqi Kurdistan, Gaza and Ukraine. Artists who could not leave the house due to disability and health conditions and artists working with found objects in countries such as Uganda. The curatorial model has been designed to break down the barriers to entry of traditional art fair models and has so far taken place in fairs in Bridgeport, USA, Berlin, Germany, Venice, Italy and Miami, USA.
Featured in this image are works by Samina Islam (above), textile artist and 2023 winner who explores women's oppression and Maya Ramsay (below) who exposes the harsh realities of deaths at sea with found objects, such as these remains of a burnt migrant boat. On the left is a sample from a contract the artist has written and included in her will.
A conceptual artwork in its own respect, The JUST Art Award comes from a commitment by the artist to give away 50% of all profits from her art sales in life and in death. The award provides ethical visual artists a fund to focus on their practice. “It’s not just about giving a voice to those otherwise unheard but trying to demonstrate by example, a new way of living and thinking about money”. Artists who win, will be producing groundbreaking work, ethical by theme or practice and will be set to benefit most from the money owing to the challenges they face.
All winning and highly commended artists are also offered to be exhibited as part of a a curatorial project entitled "Social Justice Art of the Twenties". This intervention, featuring at least 50 marginalised artists each time, that explore environmental and social justice through their practice, employs an on-site printed and framed exquisite corpse. Artists have included refugees who only had copies of their work digitally from Iraqi Kurdistan, Gaza and Ukraine. Artists who could not leave the house due to disability and health conditions and artists working with found objects in countries such as Uganda. The curatorial model has been designed to break down the barriers to entry of traditional art fair models and has so far taken place in fairs in Bridgeport, USA, Berlin, Germany, Venice, Italy and Miami, USA.
Featured in this image are works by Samina Islam (above), textile artist and 2023 winner who explores women's oppression and Maya Ramsay (below) who exposes the harsh realities of deaths at sea with found objects, such as these remains of a burnt migrant boat. On the left is a sample from a contract the artist has written and included in her will.
The PATH (Curation)
2024. Giclée on Hahnemuhle Photo Rag, frames, publication, archival box set.
Installed in the Palazzo Pisani-Revedin, Venice, Italy during the 60th Venice Biennale.
This intervention, featuring 64 marginalised artists, exploring environmental and social justice through their practice, employed an on-site printed and framed exquisite corpse. By circumventing traditional art Biennale paradigms, the project challenges established hierarchies of value. This approach exemplifies an inclusive model for artistic production and dissemination, advocating for alternative curatorial strategies that prioritise ecological and social responsibility within the contemporary art world.
Installed in the Palazzo Pisani-Revedin, Venice, Italy during the 60th Venice Biennale.
This intervention, featuring 64 marginalised artists, exploring environmental and social justice through their practice, employed an on-site printed and framed exquisite corpse. By circumventing traditional art Biennale paradigms, the project challenges established hierarchies of value. This approach exemplifies an inclusive model for artistic production and dissemination, advocating for alternative curatorial strategies that prioritise ecological and social responsibility within the contemporary art world.
AFTER GREED BECAME FORM (Curation)
2020. Virtual exhibition of 54 artists globally, accompanying online publication and webinar discussion of an environmental economist, social philanthropist and artist on hypercapitalism in the arts.
The exhibition brought together 54 artists from around the world in June 2020, to remove the barriers to exhibiting despite global lockdowns. Artists were selected if they created work based on the inequity that hypercapitalism creates and a virtual, interactive online exhibition was curated and coded for display over three months.
The exhibition brought together 54 artists from around the world in June 2020, to remove the barriers to exhibiting despite global lockdowns. Artists were selected if they created work based on the inequity that hypercapitalism creates and a virtual, interactive online exhibition was curated and coded for display over three months.
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