Personal Statement My practice initiative and fundamental aim is to interrogate and investigate the materiality of our surroundings. While being focused on sustainability, and creating honest and caring materials, my work is often also derivative of personal and social issues. Looking into how materiality can demonstrate emotions, as well as how they can morph and change in order to help and armour others in their personal battles, such as developing experimental prosthetics or interrogating bio-mimetic materials that tailor themselves to young neurodivergence.
The backbone of the material landscapes and libraries that I have developed, is rooted in a deeper understanding and appreciation of traditional material processes and historical craft. With an intellectual background in heritage crafts and cultural history around material crafts, my work aims to draw upon and pay homage to the innovators of our past, and apply this invaluable knowledge to demonstrate new approaches to the development of our material futures. Instead of fetishising innovation, it demonstrates an emotional materiality, advocating for a workmanship of risk and greater embodiments of sentiments of craftsmanship in the work we create, looking to a more sustainable and considered material future.
Certain projects, much like my most recent one, centred around a material library developed from raw, natural materials and waste materials, using traditional techniques. And essentially developed a space facilitating shared thought, knowledge and questioning in the form of a propositional material landscape. It aims to embody forms of knowing and understanding that are often sidelined and engage with (un)forgotten materialities, and share them. UNFORGOTTEN MATERIAL BODIES: RAW, REMEMBERED, WASTE pays homage to the lessons I have been taught by different craftspeople, that documents every possible dance of hands, and silent music of gesture involved in the processes that developed the collection. These included, weaving, stone carving, earth brick research and many other processes all of which contributed to a series of new materials made entirely of raw plant fibres, natural and waste materials.
The nature of these material collections are communicated as organisms in constant flux, defining the topography of its materiality in the midst of ongoing movement. My work is interdisciplinary and exploratory but my focus and commitment to making a positive impact on the materials that are defining our futures and the material landscapes of our future generations is at the very core. Generating materials that embody more care and appreciation for the world around us, and for us too. Interrogating the material narratives of our past to see what we can bring forward in terms of ancient technologies and forms of understanding that can reimagine alternative materialities for our future.
The constant throughout my work is designing and making with care, consideration and understanding and unwavering commitment. Practising a workmanship of craft and risk alike. Designing not only for, but also within communities is close to my heart, environments of cross-pollination and shared thought are essential for the innovation that can redefine our material futures. Engaging with the world with energy, difficult conversations and challenge is the only way in which we can make an honest difference.
The backbone of the material landscapes and libraries that I have developed, is rooted in a deeper understanding and appreciation of traditional material processes and historical craft. With an intellectual background in heritage crafts and cultural history around material crafts, my work aims to draw upon and pay homage to the innovators of our past, and apply this invaluable knowledge to demonstrate new approaches to the development of our material futures. Instead of fetishising innovation, it demonstrates an emotional materiality, advocating for a workmanship of risk and greater embodiments of sentiments of craftsmanship in the work we create, looking to a more sustainable and considered material future.
Certain projects, much like my most recent one, centred around a material library developed from raw, natural materials and waste materials, using traditional techniques. And essentially developed a space facilitating shared thought, knowledge and questioning in the form of a propositional material landscape. It aims to embody forms of knowing and understanding that are often sidelined and engage with (un)forgotten materialities, and share them. UNFORGOTTEN MATERIAL BODIES: RAW, REMEMBERED, WASTE pays homage to the lessons I have been taught by different craftspeople, that documents every possible dance of hands, and silent music of gesture involved in the processes that developed the collection. These included, weaving, stone carving, earth brick research and many other processes all of which contributed to a series of new materials made entirely of raw plant fibres, natural and waste materials.
The nature of these material collections are communicated as organisms in constant flux, defining the topography of its materiality in the midst of ongoing movement. My work is interdisciplinary and exploratory but my focus and commitment to making a positive impact on the materials that are defining our futures and the material landscapes of our future generations is at the very core. Generating materials that embody more care and appreciation for the world around us, and for us too. Interrogating the material narratives of our past to see what we can bring forward in terms of ancient technologies and forms of understanding that can reimagine alternative materialities for our future.
The constant throughout my work is designing and making with care, consideration and understanding and unwavering commitment. Practising a workmanship of craft and risk alike. Designing not only for, but also within communities is close to my heart, environments of cross-pollination and shared thought are essential for the innovation that can redefine our material futures. Engaging with the world with energy, difficult conversations and challenge is the only way in which we can make an honest difference.
Mentorships
GANGAMAKI TEXTILE Studio, Dehra Dun, India
Chiaki Maki
August-October 2023
Harvesting plant fibres, plant fibre development and extraction, hand-spinning silk, indigo dying, loom set up, weaving and finishings, textile design and manipulation.
Studio Mumbai, Mumbai, India
Bijoy Jain
October 2023
Working on traditional architectural practices, in conversations around the making and curation for the show A Breath of an Architect, Cartier Foundation, 2024. Working on the collaboration between Chiaki Maki and Bijoy Jain in relation to client projects and commissions in Japan and India.
Selected Work Experience
Artist Assistant, Paul Vanstone Sculptures, LONDON, UK
Part-time 2024
Stone carving and polishing. Stonework repair. Retail and sales assistant, work one trade stands and art fairs.
Trade stand assistant, Chelsea Flower Show, London, UK
May-June 2022, May-June 2023, May-June 2024
Creative sales assistant, trade stand monitor and curation team.
INTERN, Resting Reef, London, UK
Full-time, June - July 2023
Marine Biodiversity and Social Causes Specialism. Research and Development of colour diversity within bio-fabrication material structures to be placed within marine environments. Crowdfunding and social media planning and curation.
Artist Assistant, Dr Muirne Kate Dineen, London, UK
Part-time, 2023
Mentored in colour consultancy, colour theory, and colour development specialising in natural and organic colour relations in architectural and interior designs.
Technical assistance, PHOENIX ON GOLBOURNE, London, UK
Part-time, 2014-2019
Repairing and tailoring vintage clothing. Repairing and restoring vintage furniture.
Intern, Bookmark Content Design, London, UK
September 2019
Textile samples research, collection and identification.
Intern, Michael Anastassiades Ltd., London, UK
JUNE 2019
Prototyping lighting infrastructures, specifically invisible cording ideation.
Intern, Kelling Designs Showroom, London, UK
JUNE-July 2018
Textile samples research, collection and identification.
Teaching Experience
Workshop development, The Circle Collective charity, London, UK
Part-time, august 2023
Co-ordinating and running creative and stimulating workshops for small groups of U25s with learning difficulties or disadvantages in order to prepare them for the workplace.
Youth forum volunteer, the National Portrait Gallery, London, UK
Part-time 2018-2020
Co-ordinating U18 and primary school level young people’s workshops, tours and events to enhance engagement with the gallery and educational creative programmes.
Volunteer, Rugby Portobello Trust: St Clements and St James primary school, London, UK
Part-time 2018-2020
Coordinating U11 primary school level young people’s after-school club for arts and crafts.
Volunteer, Sayers Croft Activity Centre, Ewhurst, UK
Full-time, August 2019
Working with children ages 4-16 engaging with outdoor activities and creative workshops.
Exhibitions
A Synonym for Break,
Copeland Park, Unit 8, London, UK
June 2024
Group Exhibition
Personal Exhibit: Unforgotten Material Bodies - Raw, Remembered, Waste
Works in Promise
St James’s Church, Goldsmiths University, London, UK
January 2024
Personal Exhibit: Intueri
३ , 3
The National Geographical Society, London, UK
December 2023
Dr Muirne Kate Dineen & Paul Vanstone
Curation, setup and installation, management, PR and advertising.
“Only Human” Young People Section
The National Portrait Gallery, London, UK
December-April 2019
Selection of young people’s photographs by Martin Parr in connection with his ongoing exhibition, “Only Human” at the NPG.
Education
First Class Honours
BA Design
Goldsmiths University,
London, UK
2021-2024
Distinction
Art & Design Diploma, Visual Communication: Illustration and Animation
Kingston University
London, UK
2020-2021
Life Drawing Classes & Etching and Printmaking Classes
The Royal Drawing School, London, UK
Part-time, 2018-2020
Life Drawing Classes
Ackava Studios, London, UK
Part-time 2019-2020
Textiles & Printmaking Course*
* Sublimation printmaking, textile manipulation and design, Weaving
Central Saint Martins, London, UK
August 2019
A-Level Qualifications:
Francis Holland School, London, UK
A* English Literature
A* French
A* Art
GCSE & ICGSE Qualifications:
A* English Literature
A English Language
8 Maths
A Chemistry
B Physics
A Biology
A* History
7 Art
A* French
A* Spanish
Awards / Grants
The Tom Fund Grant, Goldsmiths University, 2023-2024
1st Prize Photography Award “Only Human” by Martin Parr, The National Portrait Gallery, 2019
Community and Public Service Award, Francis Holland School, 2020
Helen Burns Award for Contribution to the Wider Community, 2018
Gold, Silver & Bronze Duke of Edinburgh, Francis Holland School, 2016-2019
SKILLS
Stone Carving
Masonry
Amateur Woodwork
Bio-fabrication and Plant-Based Vegan Material Development
Weaving and Loom Handling
Colour Theory
Colour Consultancy
Intaglio & Aquatint Printmaking
Screen Printing
Life Drawing, The Royal Drawing School
Adobe Creative Cloud: Indesign, Photoshop, Illustrator, Lightroom Classic, Goldsmiths University
English, fluent
French, semi-fluency
Spanish, amateur