36x24x1inches
Acrylic on cardboard
2017

I Love This Enchanting Old ruin

Snap

each layer is drawn separately on paper and photographed, compiled and rendered in 3D program

Statement
I transfigure what exists. I manipulate identifiable objects alongside crafted elements through a process of hunting and gathering, disassembling and replicating, reengineering and distilling. Through a historical lens, I focus on moments where the past and present compare and contrast one another. Using the history and essence of industrial ruins, I fabricate emulations of society and its overabundant remnants. By reflecting upon what happens when conceived materiality obstructs, disrupts, and interferes, a dialogue is started about our effect on and in the world. Through examining the art-object as a vehicle, art can act as a conduit to examine the evolution of one's self and understand our place in space. 



Sculpture 

“Liminality can perhaps be described as a fructile chaos. A fertile nothingness, a storehouse of possibilities, not by any means a random assemblage but a striving after new forms and structure, a gestation process, a fetation of modes appropriate to anticipating post-liminal existence”. Victor Turner
 
 
‘Betwixt & Between' is a body of work marking the transitional phase of 2020 and my experience of waiting to become a parent. 
 
Having recently moved to the coast at a time when my wife has been pregnant, I have found myself drawn towards images that seem to fall between two worlds as well as to the tides of feeling that my in-between situation has seemed to engender.  
 
This transitional period of being neither here nor there, but always in anticipation of something yet to come, has brought back memories of a recurring nightmare I had as a child of a dark, hairy figure in the distance on the beaches of Suffolk, reminiscent of one of M.R. James’ ghost stories. 
Recently this otherworldly figure of my past has become increasingly present for me and during my walks along the moonlit beaches and windswept cliff tops, I have felt it there, watching me.  
 
This experience has challenged my thinking around the extent to which certain images of our past might reappear at times of uncertainty. And this has led me to question if unconscious sensation can be made manifest in what we can see or envision, and ultimately what we can photograph. Exploring the unfamiliar terrain of my new coastal home with my camera has enabled me to seek out images of things that seem to hover as if on the edge of something. Uncertain saltwater forms, alien marine life and eerie night-time shoreline shadows, appear in my photographs unaltered and estranged.   
 
This year, for many of us, our experience of time has shifted, and like waves lapping on the shore, our pasts and futures have felt both more present and further away than ever before; boundaries of the real and unreal have blurred and we have all in our own ways, slipped from one domain into another, neither here nor there. 


Empty Chair, 2021  (Part of the series Betwixt & Between.)

Name: One Size Fits All
Year Created: 2021
Medium: Oil on Canvas
Dimensions: 16x12 inches


One Size Fits All

Pocket Change - 2020-2021
This series functions as an accumulation of low-fi souvenirs collected throughout the city of Los Angeles while touring the interior and exterior shift in reality materialized by the pandemic. Walking miles and miles while pocket photographing for hours and hours served as a transformative meditation of sorts. A much needed structure and conscientious therapy. A fugue flaneur quietly moving through the streets with an obscure obsession, if you will. I became addicted to the hunt and grew a very specific fascination in curating pairs. Things you carry and collect, sentences you write and read, depending upon the chosen arrangement. Sort of like a mixed tape from someone you know but have never met. A somewhat sentimentally subjective sensory experience with a sing song scratch. 

Untitled, Pocket Change Series

Oil pastel, acrylic and charcoal on canvas
24x30cm
2021

Vote for Me

Ophelia is about power, and loss of innocence. Each flower represents a part of the story, inspired by Ophelia in Hamlet. Pansies (whose name is derived from the French word pensée, meaning “thought”), fennel, a quick-dying flower symbolizing sorrow, and daisies, representing innocence. 

Ophelia 

a glazed porcelain sculpture

Medium: glazed porcelain
Dimensions:6" x 4.5" x 4.5"
Year Completed:2020

Abandon All Hope, Ye Who Exit Here

Déjà-vu

100 unique, untreated photographic prints, sensitised concrete forms, various photographic chemicals - dimensions variable, 2016

Site responsive installation for the Emerging Photographic Artists of Canada exhibition in Toronto, Canada.

Together We'll Show You How Time Changes the Colour of Our Skin

16.5 gauge annealed steel wire and concrete

Dimensions variable, 20” x 71” x 12”

Point A to Point B

Original watercolor painting by Inga Simonyte Deniz
Watercolours on 300g Cold preassed Canson Acid free Watercolor paper 29.7x42.0

''Attending Swimming Classes''

I used old fabrics that were initially intended to be used for scrap rags. The stitching form is somewhat arbitrary - The length of the lines produced correspond to the length of the thread.

Idle Hands (flutter)

A series of figures designed with Fibonacci's number in mind. The curve of the figure is in keeping with the golden spiral and the grid and line help accentuate that motif.

The drawing was created using a range of black and white pastels, on PastelMat paper. I choose to draw in greytone to emphasise the values, creating dramatic lighting and a deep atmosphere. The resulting image is realistic, yet expressive.

Fibonacci Female Figures I

Looking at nature and enjoying the rich blend of colours and patterns, as well as shapes and forms has always inspired my work and through tufting wool, I can interpret nature into a home setting. By essentially painting with wool, I can mirror scenes of nature and create striking pieces of work that embody all the aspects I’ve come to love within craft and design. From base materials to finished piece, I am involved and can draw knowledge from multiple practices, be it woodworking to back a piece or sewing to complete a cushion.

Tufting nature allows me to mirror the depth and otherwise unique colours found throughout the year with the changing seasons and apply them in a rug or wall piece that encapsulates that scene long after the colours fade in nature. From a photo or a memory, I can recreate form and tone in wool which can then be shaped and carved to create deeper yet subtle curves with sudden sharper edges that can only be found in natural environments; creating pieces that captures nature in a somewhat abstract way. 

The idea of creating a detailed, multi-layered piece of art that essentially is  a  rug, provokes the idea that perhaps it shouldn’t be a used as itsintendedpurpose. I like to challenge the traditional idea that a rug is just a decorative piece of floor furniture to accent a room, instead questioning if it should be a displayed piece, not to be walked over.

Natural Homes

21,5x30 cm, mixed media on hand made cotton paper

DYBBUK

Exploring how to rebuild the body experience by alienateing the body and creat my bodily self-portrait.

The Bodily Self 1 

These didactic collages/posters are isolated excerpts from the Warm Bodies, Ghostly Specimens, Stoic Machines digital e-book and printed textbook. To view the full e-book please click on this link: https://indd.adobe.com/view/fa234364-49af-46ca-b61c-2660f55a004e

Art, Science and Spirituality inform my systematically installed networks of cultural specimens. Accompanying didactic classification records dissection, modification and preservation of hauntological memorabilia within my familial home. Investigative phases recollect my fragmented Japanese heritage; personifying selfhood within a discourse amongst deceased ancestors. Warm Bodies, Ghostly Specimens, Stoic Machines materializes symbiosis by hybridizing tangible genealogy and intangible vitality.

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