What is your chosen medium and what are your techniques?
This changes all the time. Recently I have been exploring fragility and impermanence through a material practice. I mould with ice, cast with salt, sculpt with porcelain, I use film, photography and sound to capture and extend these dialogues.
How would you describe your work and where do you think it fits within the sphere of contemporary glass?
The films that I’m showing as part of the festival integrates performance and projection. Technological explorations within the work encourage new perspectives and interactions with the complex materiality of glass, seeking to embody wider themes within contemporary culture.
Tell us a bit about your process and what environment you like to work in?
My process is responsive depending on what I’m working on or whom I’m working with. I value cross-
disciplinary exchanges and often engage in collaboration whether this is with artists, scientists, technologists or nature itself.
My studio is in a 19th century Carriageworks building. It is light and spacious but not always as quiet as I would like being on the edge of a town. Sitting in the space forms a kind of meditation. The act of walking out into the local landscape helps me evolve these constructs. I play… with words, draw, photograph, film and make to materialise the development of ideas.
Who do you look up to when it comes to aesthetics?
I have been thinking about this more on a sensorial level. I value the environments created by these particular pieces: Max Richter’s Sleep, Joan Jonas Ice Drawing, Anthony Gormley’s Blind Light, David Byrne’s American Utopia, Robert Wilson and Arvo Part’s Adam’s Passion.
What currently inspires you and which other artists do you admire and why?
My inspiration comes from interactions with nature, moments of stillness and dreams.
At the moment I am drawing upon: Italo Calvino’s Collection of Sand, Roland Barthes Mourning Diary, Sum by David Eagleman, David Nash, Katie Paterson, Pina Brausch, because I like to think about consciousness and the nature of being.
How are you experiencing the Covid-19 pandemic in your country? To what extent has your everyday life as an artist changed in lockdown?
Due to what seems to be the endless local/national lockdown in Wales I haven’t really travelled beyond
my local area in these last 12 months. This has influenced the way that I relate to place in terms of thinking of my work more in a local context, taking the time to observe the detail. The repetition of walking the same lines over and over…
How this has influenced my practice, I have found it to be a focused period of time opening up new pathways of working, encouraging deeper personal and emotional connections in the work. I have also been reassessing how best to reconnect with audiences in a meaningful way as we emerge out of lockdown.