PHILOSOPHY

ZERO POINT

THE SPACE WHERE ANYTHING CAN HAPPEN

I start by trying to lose control.

The first gestures happen through direct contact with the body. Wax or clay is pressed, folded and shaped against it, allowing weight, resistance and touch to determine a form before I begin to rationalise it. I could almost make these first steps blindfolded.

What interests me is not reproducing the body or recording its surface, but what happens through contact with it. A gesture leaves a consequence in the material. What begins intuitively is later observed, traced and refined, moving between impulse and reflection.

The body is therefore not only the subject of the work but the way in which the work comes into being.

This way of working grew from an interest in embodied experience and the knowledge that exists before it can easily be articulated. Wearable objects became the medium through which I could give this experience physical form: something small enough to remain immediate, intimate and tactile, yet independent enough to become an object of its own.

My architectural background shapes the questions I ask rather than the forms I produce. Architecture often works at a distance from the body and through long processes of abstraction. Working at the scale of the body allows a different immediacy. An idea can move directly between gesture, material, object and body.

I use my own body because it is the closest material reference available to me, but the work is not intended to remain there. The resulting forms are translated into wearable forms and leave the context in which they originated.

The object is finished when I complete it, but the work is completed only when someone else wears it. On another body it enters a new relationship, carrying meanings and associations that no longer belong entirely to me.