My multidisciplinary approach always begins with the landscape, both as subject and collaborator. Through my work I express my experience of the natural world, working across sculpture, installation, performance, and moving image. I’m continually testing, pushing and exploring how emotion might cross the threshold from the internal to the external, becoming something we can physically encounter. The work is created not only with the viewers experience in mind but also in response to the landscape itself. I often return my work to the place of inspiration, where it enters into dialogue with its surroundings—allowing the environment to respond, reshape, and ultimately complete the work. 

The sculptures are formed through movement, The body leaves traces and imprints in the clay. This physical process turned my attention to somatic movement, using bodily awareness to explore sensation, emotion, and physical impulse. Stepping into the landscape, the body moves instinctively, responding to the rhythms of a world always in motion—shaping and being shaped, with or without witness. Working with my body as both tool and material is a method of listening inward, and allowing the body to speak through movement.

In held in motion, the sculptural vessels which allude to bells, ring and whistle as the wind moves through them. The bell, commonly associated with a calling, a means of capturing attention now speaks for the landscape. Informed by their surroundings the sculptures are poised, posed in the landscape. Moments of the body being shaped by the elements are woven throughout the short film. Just as clay holds the trace of my gesture, film holds its image, creating a permanent trace of the movement. Held in motion questions the role of the camera, the movement isn’t performed for the camera, but captured within it. The viewer does not witness a performance, but arrives mid moment becoming part of the landscape, unhindered by a traditional stage divide.