Statement

As a sculptor, and as a human being, I believe we currently face a turning point in history. The logic of endless consumption and extraction as a means of sustaining our way of living and thinking is no longer viable. There is an urgent need to reconsider our collective relationship with the environment, with greater sensitivity and humility towards one another and the planet.

Drawing on my relationship with stone as the primary material of my sculpture along the years, I have increasingly felt the need to question the character and social status historically attributed to it. Stone has often been valued for its role in establishing and perpetuating power, authority and permanence.

From this position, I have more recently developed a new body of work that explores the symbolic and poetic potential of sculpture through the juxtaposition of materials and artefacts, ranging from finely carved forms to mass-produced readymade objects.

On one level, this series reflects on notions of value and use within classical extractive models; on another, it critically explores the capacity of sculpture to articulate how we, as a species, relate to our environment.

HYBRID SPORE

Having perfected the dissemination of plastic across every layer of the natural world—from vast accumulations that scar entire ecosystems to microscopic residues embedded within living bodies—our future drifts towards an uneasy state of hybridisation.

Hybrid Spore presents a hollow spore carved in white marble, its fragile shell invaded from within by a pink balloon. The synthetic core inflates, presses outward and begins to occupy form, suggesting a slow mutation in which identity, material and authorship collapse into one another. What emerges is neither natural nor artificial, but a speculative organism shaped by our own excess.