Advocating for different modes of play, my works slip between sculpture, craft and childhood games such as origami and modelling flying mechanisms. Narratives are constructed in the emulation of specific gestural language; calligraphic practice, paper folding, or the movement of flight. Stories are often being told when a subject or object rhymes its way through a seemingly unrelated setting. Often documented in moving-image or sculptural forms, the making process consists of repeated trial and error, which overtime creates a causal history of material and labour. Manifesting as forms of movement, the act of making becomes a process of recollection. This methodology is currently rooted in my interest in causality; cultural and archival inheritance; the process of translation; personal and collective history.

Formatting the artworks as an anecdote or a prediction that is in opposition to arrival, I aim to think less of producing the artwork for presentation at a set moment, instead, working out a way to reconfigure the temporal constraints of spectacles discovered along the way. Often times the objects undergo a constant state of ‘shape-shifting’, audiences are encouraged to question their past and future itinerary, working out the causal relationship between them. Through toying with materiality beyond a known material state, the objects’ are stripped of their predetermined functions, and caught in their process of ‘becoming’.

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