In my paintings, gummy, jungle-like vines stretch across and dribble down the

page, biomorphic shapes press and squeeze against each other. Sinuous forms

glisten and pulsate, liquid filling and leaking. In other works, trickster-like beings

teeter between something human and non-human, or rather they evade such

distinctions. These hybrid bodies suggest an eerie intimacy with nature, advocating

for the dissolution of the hierarchical attitudes towards species. The strangeness,

horror, tenderness and laughter of ecological awareness is outlined, that we are

inextricably enmeshed with and permeated by the biosphere.

I counter the traditional notions and grandeur of painting on canvas by using paper

and the technique of mono-printing. In this method of printmaking, where paint

brushes are rarely used, ink and oil are rolled onto a metal plate and swiftly wiped

away with my hands, rags and cotton buds. This method of subtracting from a fully

painted, smooth surface reverses the somewhat daunting notions of a white canvas

and enables me to work quickly and fluidly. When pressed, the paint sits within the

paper, and so the viewer witnesses the material dribbling, slipping and seeping

whilst being denied its tactile quality. The horror of material, rather illusively, is

never truly encountered as it is sandwiched between surfaces like a microscopic

slide. The tension of this visual trickery is what makes working on paper an integral

part of my painting practice.

These works are a direct response to my use of ‘moist media’ in sculpture. I am entranced by the sensory and transformative qualities of viscous

substances, in particular boiled sugar, which constantly changes, evolves and resists

control. The intelligence of the animated material world and its dense network of

relations is advocated in contemporary material studies theories, which forms my

research. Through the process of ‘sugar pulling’, boiled sugar is stretched, twisted,

pulled and sculpted into shape. The interchangeable shapes - that shift from

imitating intestinal matter to deep sea creatures, skin textures to slug-like formations - become an emblem for a hybrid model of thinking. The organic sculptures are

immersed in vegetable oil - which slows down the melting process - and contained in

vitrines, mimicking an anatomical display. The work combines the interdisciplinary

fields of the life sciences with art, engaging the viewer in key discussions

surrounding the matter of which our body is made of and its relationship to non-human life. Acknowledging the micro-organisms we carry inside of us exist in other bodies of life on earth emphasises our mutual interdependence, which begs the question; If the non-human exists in the human, can we really be so separated from nature?