I am an artist working with wearable objects.
 
My work focuses on connections between the body and the mind in particular spaces. These objects are not representations; their use is very simple and precise. They are combinations of materials such as cardboard boxes and tape, which were originally designed for a purpose and have power only when they are being used. I need to understand how the object operates within the space when it is occupied by the human body.
 
My work moved beyond the studio in 2013, and from then I started to produce a series of objects to be used in both installations and performances, Body to the City (2014-2015), and Angle Monster (2015) which were carried out in public space. These series of wearable objects, the combinations of materials only work together when it is invested with a certain power, and that power presents itself when they are worn by people. For this reason, they are not costumes because it has different meanings when it is a sculpture form and when people are wearing it. I believe this wearable object contains certain energies. It carries experience and triggers a mental challenge to the public whether directly or indirectly. Because the presence of this moving body in the object I make creates an event-like encounter with audiences, compelled to question what they are.

I Love You For Free (2015)
Wearable Object / Sculpture
Boxes, Tape, Wool
60cm x 140cm

---

---

 
I carried my object to Kingston Upon Thames high street and the public who unexpectedly encountered this wearable object asked questions and was curious about the purpose of it. The works provoked the question of “what is it?” to people who are unfamiliar with the context of contemporary art. It explored the notion of unexpected encounters and the being of the object combined with the human body and interferes with the social norm in the public space. It is interesting how one of the most frequently asked questions was, “what are you promoting?” This question represents the reality of consumerism where people other than artists, do not produce wearable objects, without marketing purpose. My wearable object was not produced to make selling nor for the profit. However, in a way, it was being used to promote and encourage an understanding of art to the public who were interested as well as a function of the question to ‘what is art’.
 
In February 2016, I decided to ring my next wearable object, The Journey (2016) out to London. The locations were London Waterloo, South Bank, and the park outside of the Huntarian Museum. There was no control of the audience which means the feedback would be out of my hands. The audience in this instance was different from the gallery visitors as the people coming into contact with this piece were there, expecting to see the artwork and therefore this puts the piece into a different context. I came to think about the journey of the object itself. The object was produced to be used in performance as well as an object itself to be looked at.
 
When the object is being used in performance, two forms of experiences are being created. One I the experience of the performer in the object, the other is the aspect of the experience of the viewers. These are utterly separated experiences and one cannot interfere with the other. That is to say, each experience is completely independent by not introducing to one another. It is important to understand this experience is based on the relationship between the art and the audience. It does not need to be explained because there is no one-way to experience art nor there is no right or wrong answer to what it is. It allows the audience and the performer to be free by sharing the event-like art in a completely independent position to look at it.

One. Two, Three! (2016)

Performance / Wearable Sculpture
75cm x 90cm

Angel Monster (2015)
Sculpture/ Wearable Object 
Boxes, Tape, Paint, Other
0.4m x 1.3m

The London Journey (2016)
Performance Sculpture
Boxes, tape, tin foil, stickers 
80cm x 50cm

---

Collaboration with Jasmin Cliff

---

Gwemul (2016)
Sculpture, Installation
Cardboard boxes, tape, other materials
3.1m x 2.4m

Installation (2016) 

Gwemul (2016) is made with boxes and plastic containers with tape, which I am intrigued by using in order to construct into another form. Such materials are used in simple and precise intensions in our daily lives and they are being binned or recycled after carrying out their simple tasks. Instead of buying expensive materials to make another object that will eventually be recycled again, I decided to use what is already out there.