My artwork stems from objects and matter which surround us, the idea of the forgotten and how we digest our surroundings which make up our everyday. The materials revolve around the ideas of disposability, accessibility, and low quality, such as foam, jesmonite, latex, plaster, and found objects used sporadically. The exploration of the everyday can be signified through the re-creation of objects that I have seen and photographed, upholding and transferring experiences of the mundane into different contexts. The tactile idea is essential, using it as a tool of navigation to begin understanding the familiarities of the world around us. Looking at surface, weight, and colour in the variations and combinations of materials, it creates a familiar narrative to invite the viewer to actively emerge themselves within the works.

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The soft, earth colourings of my objects, mixed with saturation, provides a form of activation, as if describing something for the first time. These are somethings you recognise, objects of mass production becoming disregarded.  Through a physical act of incorporation - from the body, mixing, squeezing, lifting, falling and twisting - an unpredictability arises within their narratives, generated via the excess.

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Within the virtual age being apart of the physical is intensified with there being a desire to inspect the material substance physically. However, through the removal of touch, the perception of the artworks through other senses becomes essential. These objects become forces of their own, being static yet still as they are placed into positions which can generate a chain of associations - of people, places, smells, and sounds. With the objects’ accessibility, the possibility of breakability intensifies. The materials are fragile, with Michael Fried’s idea of ‘non-art’ objects containing a ‘kind of presence but did not hide behind it’, creates a vulnerability to destruction. This builds an intimacy through an exposing of the objects' true nature, allowing the materials to become present within the world, contradicting their surroundings for which they are known for.

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Although we understand the materiality of the objects, Fiona Candlin suggests there is a way of ‘thinking through objects’ through the understanding of what the object is seen as today, with foam being a source of protection. It begins to disassociate the function of the object to what they are within artworks through the contradictory environments, blurring the boundaries between objects as a decorative manner in contrast to their place within the world. Through the objects maintaining a predictable reality through its materiality, it begins a process of understandings the objects significance. The objects need to become absorbed by everything, with no hierarchy to the object’s status or value within society.

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The objects are ambiguous when presented within a space, shown as singular forms becoming part of a collective. The objects are outside of their purposeful habitat; they are in a remote position of components that should not interact. They appear like discoveries in their twisted, distorted movements and their mutual communication. They are on the edge of collapsing but are supported by another. With these objects scattered across the floor, Fried states that the distance between object and subject that creates a more extended situation, as ‘physical participation becomes necessary’. The viewer creates choreographed movements to navigate the space, through the transformative aspect of constant rearrangement within the impermanence of what surrounds us. The viewer is aware of their own placement and actions, as the objects refer to our movements within the everyday.