2015

Beech, steel, glass. 

As designed for HGTV's "Ellen's Design Challenge"!

Original Design Sketches by the artist. 

Image Screenshots courtesy of HGTV.

Renderings courtesy of and by HGTV. 

2015

Acacia wood, epoxy resin, plaster, glitter, various pigments. 

As designed and made on Season 2 of HGTV's "Ellen's Design Challenge"! 

Images courtesy of HGTV and McKenzie Gibson. 

2016

Work in Progress...

Sketch for the table with cast iron, rope insets and legs.

Progress on the Center Knot. 

Cast iron, wood. 

2015

Mild steel.

Vary in size, but can be used for railings, decorative inserts, and structural components. 

As seen on HGTV's Ellen's Design Challenge, Season 2!

BRAIDED TABLE I

2014

African Mahogany, mild steel, 100% Tung oil

36" l x 25" w x 25" h

*Braided Table I is limited to an Edition of 5  

All rights reserved.

2015

Work in Progress...

Modified IKEA chair, Glitter, Arduino with computer programming, copper. 

A capacitative sensing chair that glitter bombs its users. More images coming soon!

2015

Walnut, glass, velvet, antique brass drawer pulls.

All rights reserved.

2015

Cherry, polyacrylic finish. 

Combination bench and bookcase that hangs on the wall via a french cleat. All hand joinery which particularly shows in the leg details. 

All rights reserved.

2015

Melted acrylic on various moulds. 

2015

Sapele, Beech, salad bowl finish.

Collaboration with Ruth Henry, Sunyoung Park, and Jiayin Zhang.

Collaboration with Maria Antonia Caicedo.

All rights reserved.

All rights reserved.

As seen on HGTV's Ellen's Design Challenge, Season 2!

APOTROPAIC

2013

300 metres of Sisal rope, epoxy resin. Resin sponsorship by Whitten Timber, London. 

Entire installation weighs 780 pounds. 

Available for commission in 2 options: Limited edition of 5 total

(1) Chaise Lounge only

(2) Entire Installation

The installation’s title—Apotropaic— consists of three primary visual elements: 300 continuous meters of Sisal rope, bronze cast knots and a functional lounge chair made of rope. 

Since 2012, I have maintained a list of words that have sent me to the dictionary; the impetus for the design, materials used and overall installation of Apotropaic comes from that list. Loosely defined as a verb, meaning ‘to ward away evil’, apotropaic practices have been practiced by a variety of historic cultures. Knots were once employed as apotropaic devices; the more intricate or complex the knot, the more power it held (think of Celtic designs).

The bronze knot fixtures within Apotropaic alter the scale, standing as sculptural objects on their own. They stand as signposts for the directional movement of the larger rope piece.

The placement of this installation, in a corridor, highlights the processional element of the drawing. Similar to that of one’s journey up the acropolis, toward the Parthenon, the spatial experience leads an individual from the beginning of the corridor to the end, preparing oneself for what awaits them at the work's culmination.. These initial rope strands function as drawings along the wall, culminating – at the far end – into a continuous braid which wraps itself into a functional lounge chair. Apotropaic is a design drawing that has come to life, visually, and as a spatial experience.

A huge thank you to Whitten Timber, London for sponsorship by their contribution of Resin to make this piece happen!

All rights reserved.

BRONZE KNOT SERIES

2013

Bronze casts

Vary in size; ~ 3.5" x 5" 

All rights reserved.

2013

Sisal rope, hardware for hanging.

All rights reserved.

2013

Sisal rope.

Stool made completely of rope with no additives. Structure is given solely by incorporating various knots. 

All rights reserved.

2013 

Watercolour

Watercolour of the piece by the same name. 

All rights reserved.

2012

All rights reserved.

2013

Artist Booklet – Mylar, photos printed on paper, string (total of 120 pages)

Each page: 21cm x 16cm

Thematic elements of collecting, fixed versus dynamic architectural elements, and psychogeography represented in booklet form. Chapters included: ‘Ornamentation’, ‘Doors’, ‘Windows’, and ‘Oddities & Absences’. Like earlier work, it was important that I took photographs in my own neighbourhood.

Excerpt from booklet introduction:

The buildings of southeast London exist in an interstice of time […] ornamentation, hundreds of years old, can be seen side-by-side with architectural features that regularly change from one decade to another. A building may retain its structural integrity, but a feature–such as a door–can interrupt its original ‘wholeness’. Whereas, at one time, a structure’s design was apparent at first glance, change in cultural trends, functional needs, and external circumstance has fractured any ‘wholeness’ that had originally existed. New technologies–like electricity, CCTV, and alarm systems–stand next to the ancient technology of stonemasonry. 

2012

MDF, steel & polystyrene

Installation as shown at Shoreditch Town Hall, London.

2011

Graphite on Bristol

Each panel: 7 3/8” x 12” (18.7324 cm x 30.48 cm)

Following research started in ‘Plan that’s not a plan,’ this triptych investigated common architectural drawing methods of representation including topography, building plans, and sight lines. Again, the viewer is invited to look at the piece from both afar and up-close, attempting to make sense of the ‘blueprints’. Another theme explored here was the idea of mapping: how the viewer attempts to read or visually negotiate their way around in something that appears to be a map or plan. The information in a blueprint or map is the representation of a physical space, so there is a perceived physicality or objecthood assigned to them. I wanted to investigate the idea of visual representation using methods that are automatically assigned a certain function (providing technical information), and then distorting the function so that the methods don’t work ‘properly’.

2011

Graphite on watercolour paper

22” x 22”

An early piece within a Fine Arts Context, this work represents an investigation into meanings and associations people look for in architectural drawings. Considering that many assume they will be able to ‘read’ the drawing as a source of technical information, I endeavoured to problematize the context for the viewer; the piece doesn’t function as a blueprint. Furthermore, the focus expanded to implied forms via the shape of a star, inviting the viewer to look at the piece from both afar and up close. The visible construction lines also encourage a closer look. Whereas this piece wants to be viewed as a ‘correct’ blueprint, it cannot function appropriately. Distortion of expectations and conventions is a recurring theme within my practice.