portfolio of recent works

Threshold (2018)

Joint commission by University of Edinburgh and Royal Observatory Edinburgh. Located at in the Higgs Centre for Innovation, Royal Observatory.

Based on research into the Higgs Boson at University of Edinburgh and CERN, Geneva and in close dialogue with High Energy Particle Phycisist Dr Victoria Evans. The project is based on a visualisation of what would happen to particles if the Higgs Boson, which gives mass to particles, was ‘switched off'‘. An impossible object, at once present and absent, the sculpture consists of roughly 16,000 gemstone spheres attached to wires running floor to ceiling. The optical illusion was generated by a bespoke computer program, developed with programmer Peter Balch. The beads, which make up the image of a door, only come into alignment as the viewer walks towards it upon leaving the building (enlightened?). From all other angles it appears as a ghostly cloud, a mist of nuclei drifting in the air, the fundamental part of its mass and energy removed. The door is an elusive object that leads to the unknown possibilities of future scientific endeavour; how will the discovery of the Higgs boson shape the future of science, now the door has closed upon the standard model.

silver city (2025)

Work in progress. Architectural glass and metalwork design commission by Aberdeen City Council, 2024.

This work is a collaboration with Julian Stocks

Our starting point for the design was the idea of Aberdeen the Silver City; silver for the flecks of mica catching the sun in the many granite buildings transformed into shimmering light, silver for the River Dee which ran through it, silver for the many Silver Darlings fished in the sea. Inspired by the idea of shimmering, silver buildings and referencing the impressive granite facade of the original Aberdeen Market, we developed a scheme based on silver and granite crystal structures.

The final pattern was developed from microscopic images of a piece of granite salvaged from the current building site in January this year. We wanted to lead the design directly back to the site and previous buildings, rediscovering the very fabric of Aberdeen. The salvaged piece of pale Kemnay granite was analysed and photographed at Natural History Museum, London, using a microscopic stacker.

The microscopic images revealed the hidden structures of the granite, showing detailed specks of mica, feldspar and quartz, which have been incorporated directly into the design as graphic shapes and lines. The fine, sprawling lines also reference the striking, meandering patterns of Silver crystals. This design invites visitors to rediscover the familiar and see granite in a new way, resulting in a contemporary building with roots in tradition. 

Kaleidoscope, 2024

Kaleidoscope workshops in West Pilton as part of wider community engagement for a major new development. Commissioned by Granton Waterfront and Edinburgh Council.

Focus was on engaging young people and families from hard-to-reach backgrounds, including children of parents with substance use disorders. I did this by developing simple kaleidoscopes that could be used to take inventive photographs using a smartphone and invite participants to explore their area in a new way.

These were later combined with printmaking techniques, such as cyanotypes and mono printing to create striking patterns.

Musselburgh Archer, 2019

Commission by East Lothian council. 

Life-size bronze cast of an archer on the Esk river bank and 17 steel arrows forming a trail, linking the heritage of Musselburgh to the modern day.

Inspired by local history, the archer and arrows represent three important aspects of Musselburgh heritage - the Roman invasion in AD 80, the battle of Pinky Cleugh in 1547 and the Musselburgh Silver Arrow, which dates back to 1603 and is claimed to be the oldest sporting trophy in the world.

The sculpture has been welcomed into the community. He currently has a Facebook following of 800+ members who dress up the sculpture for the seasons. He won the prestigious Musselburgh Conservation Society Design Award 2021 and was recently named by Atlas Obscura as one of the Extraordinary Sights of the World.

Fleeting (2019)

Commissioned by Aberdeen City Council as a memorial to the Hazlehead crematorium scandal, which saw the ashes of more than 200 infants lost due to past practices at the crematorium.

The sculpture was developed over several months in close dialogue with the affected parents, who wanted a peaceful and positive memorial, which would provide a safe space for reflection and remembrance. This was a profoundly humbling and rewarding experience and taught me a great deal about working with diverse groups in a sensitive way. Based on a prolonged period of time spent with the parent group in order to understand their vision, this project succeeded in emotionally engaging people who might not normally appreciate public art, drawing together a group of individuals from different backgrounds to create a memorial reflective of their hopes and wishes.

Singularities

Title piece for recent solo show at SAK Gallery, Denmark. The piece is made up from 2300 steel swarf mounted on pins. The shards are the debris from the installation of an artwork protection system at Tate Gallery London.

Moments in Time and Set in Stone (2025)

Ceramics, found waste and microscopic images

Continually evolving projects, which came out of my Art council funded project on London Clay (2021-22) and Creative Residency with Museum of London Archaeology (2024-25).

These works were inspired by the concept of technofossils; the geological footprints that humans will leave behind through their material goods. I have been exploring ways of recreating the natural language of the earth through experimental ceramics, making hundreds of small ‘pinch pots’, one of the most fundamental ceramic shapes and an integral part of the ceramicist’s process. Each one of the pots combines waste materials from London, such as dust from the underground and beer bottles found on the street, with different layers of London Geology. I then photograph the hidden universe of the work, invisible to the naked eye, through a magnification lens. In this process, familiar patterns emerge, resembling images from telescopes of nebulas, weather patterns, brain scans, earth's landscape images from satellites. I am fascinated by this iconographic resonance across different areas of life; in cultures, in mathematics and in the natural world, which is repeated within the micro and macro.