I am and will continue to be an object maker. I believe that objects have value in and of themselves, rather that alluding to something else. Objects draw out questions such as, what is it? What is it made from? Or my favourite, what does it do? When we think about objects as just that, rather than sculpture or art, they are free to be transformative, mutable, and fluid. This leads to objects being products, in and of themselves. There has always been an underlying current of design that is clearly visible in my drawings and working method. My interest has grown in the bespoke and the mass produced, as well as the domestication, adaptation and commodification of wider cultural aesthetics.


The parallels between the retail world and the world of contemporary art are undeniable. How products are packaged, how we browse them, how they are sold to us by experts and sales associates, what is in fashion, what their function is, whether they provide a service, whether they are right for us, and in turn, what their value is. What are the problems with the commodification of the “art” object? Perhaps they begin with the elevation to this status. If we take commodification as a starting point, rather than an unwanted consequence of the visibility and propagation of contemporary art, can we engage the viewer/end user in new ways?


Curatorial practice, or certainly understanding of contemporary curatorial practice is key to developing and establishing the platforms for my work’s mediation. Previous curatorial work has allowed me to develop my skills in bringing together works by different artists and to create new networks of interrelations; addressing the effects of the gallery’s curatorial predispositions (or any space geared to the presentation of art) on the production and mediation of work. If artists are represented by a gallery, then the work is likely to be geared to fit that gallery’s wider curatorial agenda (political or otherwise). That is to say, work made for an end user; or in other words, products.


The emphasis is on production; challenging oneslf to continue making decisions about form, function, colour, size etc. The quality and currency of the work begins with its existence.


Currently based in Madrid, Spain.