Welcome 

Having spent 6-years reading philosophy and 4-years studying writing and art practice at the Royal College of Art I am now finishing my studies at The Slade School of Fine Art through their MFA Sculpture programme.

Finishing in 2027 will conclude 17-years of continuous academic research resulting in, I hope, my New Venus Trilogy coming into the world.


My practice is grounded in a sustained, interdisciplinary enquiry that spans astrology, philosophy, writing, meditation and improvisation in performance and contemporary art. Early work as an astrologer and independent researcher into consciousness and altered states established a long-term engagement with non-linear systems of consciousness and knowledge. This was deepened through formal study, completing a BA in Philosophy at Birkbeck and an MPhil Philosophy at the University of Glasgow (2010–2016), where I examined questions of Buddhist framing ignorance, cognition, and embodiment within a neuroscience framework. Alongside this, my writing and research into spiral energy and bi-handed drawing have developed as practice-based methodologies for thinking through motion, non-duality, and emergence. My current sculptural and performative work synthesises these trajectories, bringing together material experimentation and philosophical enquiry. This combined background enables me to approach the trilogy as both critical investigation and embodied practice, uniquely

positioning me to realise its conceptual and material scope.


Progress of this project will exhibit in the upcoming Interim then Final Graduate Exhibitions at the Slade. Further information coming soon.

Breath Quartet (2026)

Short video introducing my vocal and arms meditation performance as one of Breath Quartet at IKLECTIK. For further information see the Breath Quartet page on my website or go to www.breathquartet. My colleagues are Marcus Herne on music composition and improvisational performance, Ziza on movement and vocals, and James Merrell on images and projection. Our producer was April Kelly. Gratitude to IKLECTIK for hosting us. Next performances are part of Pendulum/Derivo at the Old Church, Stoke Newington on May 6th and Dance Not Dance, with The Drum Also Dances at the Horse Hospital, London on May 21st.

Moon Milk and Breath Quartet (2026)

This is a short clip of my porcelain chime bells, each one an acoustic dome resonating at a frequency between a brass gong and bone. This was part of Breath Quartet's workshop in January 2026.

Towards Levitation > Breath (2020-)

Breath is the simplest act of being alive, yet in its rhythms lie infinite possibilities for art, philosophy, and connection. My performance practice begins with Kundalini spiral breath work, directing the body as an instrument of vibration, elevation and luminance. Through overtoning, long-tone chanting, and ritualised breath cycles, my practice activates sound as a sculptural material and resonance that can shape space as profoundly as stone or clay.
Performances such as Lament for Gaia, Breath Quartet, and MA LAST MA bring together voice, body, and environment, creating live compositions that oscillate between meditative stillness and raw sonic intensity.  In this space performance becomes both ritual and research: a collective meditation on the fragility, resilience, and aliveness of being human.

Exhibited in various group shows including Tate Lates (Tate Modern 2024), Safe House (Peckham 2024), HSBC (Canary Wharf 2023). 

Venus Manifesto (2022-)

The Venus Project reimagines one of art history’s most enduring archetypes, the Venus figure, not as an idealised body, but as a vessel of breath, rupture, and becoming. Working primarily in porcelain, I sculpt torsos that shift between abstraction and figuration, often dysmorphic, fractured, or monolithic. Each form emerges rapidly, dried upright to embody gravity and the lived tension of inhalation and exhalation.

Rather than reproducing the Greco-Roman goddess of perfection, my Venuses evoke ancient figurines as teachers of mortality, resilience, and transformation. Their surfaces, creased and ruptured, emphasise fragility as strength, each figure a unique meditation on the unstable thresholds of embodiment. Together, the works form a constellation of presences: silent totems that invite viewers to confront beauty, loss, and the unstable breath of life itself.

Group shows include Dalkeith Palace (Edinburgh 2023), Art in the Docks (Royal Wharf 2024), The Graduate Art Show (London 2024), Himalayan Sculpture Park and Garden (Yorkshire 2025).

Porcelain for Peace > Luminance & Resonance (2018-)

Porcelain lies is the heart of my practice: a vision of sculpture not as static object, but as vessels for resonance, breath, and transformation. Using studio and my own MW porcelain, one of the most luminous and fragile clays, and slip moulds, my projects create brick built acoustic chambers, curves, and resonant vessels that explore harmonics as collective experience. These forms are activated through mantra, overtone chanting, and Kundalini yoga and meditation, opening spaces for stillness, listening, and shared vibration. The foundations laid, I'm now creating curved porcelain bricks. 

I consider porcelain as a material both activated and activating as delicate yet powerfully enduring, translucent yet grounding. Its radiant resonance holds silence while amplifying voice and light. Uniquely possessing these qualities, porcelain allows me to scale ambitious, reconstructable, installations designed to survive long into the future. 

Further sharing to follow as I develop this body of work.

IMPERMANENCE: SYBLS (2024-25)

Contrasting my fired porcelain projects, my SYBL (See Your Body Later) project works with marble dust, fabric and found flint.  Stardusters reimagine sculptural materiality through a sensuous engagement with weight, breath, and transformation. Traditionally dense and rigid substances, marble dust, crushed flint, and porcelain, are sewn into soft muslin bodies, creating forms that are entirely moveable and self-supporting. These works act like permeable skins, fusing surface and content in an ever-shifting state of expansion and contraction, echoing the act of breath at its fullest.

Referencing both the cosmos and the gut, Stardusters consider the body's internal systems, especially digestion and the enteric nervous system, as sites of intelligence and holding. The intestinal composition suggests not just the processing of matter, but also of memory and presence. Stardusters here are emergent, sensate forms and sculptural bodies that listen, respond and reconfigure, gesturing toward an aliveness beyond static form, toward a poetics of the somatic.

Group shows include Royal Scottish Academy Exhibition, (Edinburgh, 2025).

WRITING > AUTOMATIC

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Predictive Text > 01.01.3000 (2022-)

Predictive Text 01.01.3000 is a trance-writing installation of ten 20-metre scrolls suspended as analogue thought-clouds. Written on vintage typewriters and based on the astrological chart of the Third Millennium, the work channels a stream of consciousness that echoes mystic texts and Beat poetics, treating prediction as imagination and courage. 

Predictive Text 01.01.3000 is a durational trance-writing piece made with vintage electric typewriters and ritualised materials, exhibited as a site-responsive installation. Ten 20-metre scrolls of streamed consciousness are suspended from the ceiling as analogue thought-clouds, invoking the in-between states of hypnagogia and dreaming. Based on the astrological chart marking the dawn of the Third Millennium, the text emerges through immersive trance-typing, echoing the Dead Sea Scrolls, Alice Bailey, W. B. Yeats’ spirit dictations, and Jack Kerouac’s spontaneous poetics. The work operates as both channel and chant—a speculative divinatory act that treats prediction not as certainty, but as an act of imagination and courage.

Group shows include: After Judy (Campervan Collective) (Hyde Park 2024), International Body of Art, LEX1, (Peckham 2024), ONE EXTENDED MEDITATION: THE FURIES COLLECTIVE, Copeland Gallery (London 2024). 

WRITING > RESEARCH

My research moves between philosophy, aesthetics, and material practice, investigating how breath-directed resonance and luminance manifests as elevation in bodies and sculpture. Beginning with academic work in philosophy, spanning Buddhist ethics, neuroscience, and political thought, I have since extended my inquiry into practice-led forms of writing and making. My essays and presentations explore themes of equanimity, resonance, and post-self aesthetics, drawing connections between early Buddhist teachings, modern acoustic theory, Kundalini science and contemporary art.

Whether as academic publication, poetic text, or lecture-performance, my writing aims to open spaces of philosophical unknowing where ideas can be felt as much as reasoned, and where art becomes philosophy in action.

Published on Academia.edu, PhilPapers, Researchgate. Presentations given at TSC Poster Presentation, Towards a Science of Consciousness, Helsinki (2015), Breath Induced ‘Vivid Dreaming’ (BIVD:) Soma-Neuro-Immersive (SNI) Breath Work for Release of Soma-Neuro Holding Patterns, RCPSYCH Poster Presentation: Royal College of Psychiatry International Congress, Edinburgh (2017), How Can We Use Bi-Handed Drawing, Breath, and Sound to Investigate Cyclical Spiral Energy? Science of Consciousness, Taormina, Italy (2023).