Living and working in Scotland, my work sits between engineering and art through the development of machines. Using traditional, engineered planning to arrive at kinetic sculptures with alternative functions, the artworks are mechanised by audience interaction, which is paramount to the function of the work. Gears, cogs and wheels, from blue prints, etchings and drawings, informed by monologues, photographs and film.

Graduating from the Glasgow School of Art with a degree in Sculpture and Environmental Art, I use my hands and the practical skills that I have acquired to capture the foundations of my heritage; forming a bridge between my industrial make-up and a conceptual art environment; which contrasts my methodical and practical character inherited from generations of miners and a childhood situated around a working dockyard in Plymouth. 

This bridge is materialised through the building of machines, using traditional, engineered planning to arrive at kinetic sculptures with alternative functions, archetypical of historical machinery within industrial environments, particularly that of coal mines. At the same time, the work attempts to exist as an archive of the social history that coincides with such environments, reaching internally to my own family history, and particularly first-hand monologues from my grandparents, Nan and Bobby, who are representative of the last working generation in Scottish coal mining. The kinetic sculptures are mechanised by audience interaction, which is paramount to the function of the work; facilitating an inclusive environment where participation and physical structures carry equal weight in the function of my work.