Video projected onto bioplastic screen with phosphorescent pigment and UV light.

Group Show:
Conditions Studio, 2023 UK

Foulness is an experimental film that expands the impact and convergence of two moments in time. Firstly June 5th 1952, when Britain’s first ever atomic bomb was moved from Foulness to Shoebury, and then to Australia and detonated. The second moment, a feeling of deep unease encountered while capturing the headlands on my phone, without prior knowledge of the history. The presentation of the moving image work is corroded by UV reactive pigment on a custom made screen. The work is an exploration of feeling, intuition and memory intersecting with ongoing conversations around tensions between violence and  perceived care.


Single channel live stream from HD camera, two motors and two mirros.

with Iana Mizguina
Conditions Project Space, UK

Strange Terrain

Animation frames made of plasticine, bioplastic and organic matter between perspex sheets.
VR headset with looped 360-degree animation.

Group Show:
Conditions Studio 2022, UK

photo by conditions studio

3’ 55” 
Sound by Cecile Ross & Kit MacArthur

Initially developed during the

BEYOND residency at Allenheads Contemporary Arts, UK.

Screened at:
Roppongi  Art Night, Japan

Another Day Another Lifetime Curated by Jessie Scott at Shared Medium: a moving image program by Composite & Channels, AU

HD Animation
Sound by Dylan Hogan-Ross
Voice by Alana Bowden

Group Show:
Commissioned by Penrith Regional Gallery & The Lewers Bequest for Gravity and Wonder, AU 

Big screen V, Focal Point Gallery, UK  

Chiaroscuro , Coventry Cathedral UK. Curated by Martin Green


ISM is the result of a pairing with astronomer Graeme Wong over six weeks in the House of Wonder studios at Penrith Regional Gallery. Graeme’s area of focus is researching the molecular density of interstellar gas clouds and looking at initial conditions for star formation.

ISM pivots around visualizing what is optically invisible to humans; and the use of metaphor, language and linking. Metaphor used in science communication uses already acquired knowledge to position new information in our frame of reference. When talking about the unseen, the intangible, the invisible and unfathomable scale of the universe, when we use metaphor, human centered scale and the tangible to explain these ideas, does this tether and constrain our understanding? Do these objects become embedded in our comprehension of the universe?

Cross sections of scientist Graeme Wong’s desk were rendered in the same method he uses to look at sample areas of the gas clouds. The work paralells  Graeme Wong’s methods of investigation, measurement and ultimately how we perceive and relate to the Universe.