About
My work explores the domestic interior as a field where objects, bodies and memory form shifting relations. Through staged photographic constructions, I investigate how material arrangements shape the emotional and symbolic life of space.
My practice centres on the still-life interior as a site where identity, absence and relation are negotiated through material form. Working primarily through staged photographic construction, I approach arrangement as a mode of thinking through proximity, weight, light and interval.
The research began with an examination of masculinity within the interior. Early works positioned the body within domestic space, attending to processes of identification, defence and self-construction. Drawing upon psychoanalytic thought, the interior was approached as a structured field — a space shaped by displacement, substitution and the negotiation of visibility.
Over time the figure receded and the interior assumed greater agency. Influenced by feminist writers and artists who reconsidered the domestic as a site of knowledge, objects began to operate less as symbols and more as relational presences. Meaning emerged through adjacency, tension and material dialogue rather than through fixed narrative.
Recent works move beyond symbolic anchoring toward relational ontology. Objects no longer stand in for absence but interact as active participants within the scene. Through these interactions the domestic interior becomes a site where meaning is produced through encounter rather than representation.
Across these works the interior remains constant — not simply as backdrop but as an experiential ground. Here objects and bodies participate in a dynamic field of relations in which presence, absence and memory remain in productive tension.
I am currently undertaking a practice-led PhD titled Landscapes of the Interior, which investigates how contemporary photographic and printmaking practice can embody vitality and sensual presence within the still-life genre.
Across these works the domestic interior emerges as a landscape of relations — where objects, bodies and spaces participate in the slow formation of meaning.