LATEST NEWS - BREATH QUARTET PERFORMING AT IKLECTIK, LONDON
‘Only Breath’ A live performance where breath, voice, movement and electronic music unfold together to create an immersive sensory environment. Only Breath invites audiences to inhabit a shared space of listening, movement, meditation, and ritual. Event Information Date: 26 March Venue: IKLECTIK Address: 95a Rye Lane, Peckham Levels, London SE15 Doors: 19:00 Start: 19:30
LATEST WORK
Chamber of Solace (2026)
Relics of a Half-Life (2026)
Sacrificial Letter (2026)
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. More to follow soon.
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).
Exhibited in various group shows including Tate Lates (Tate Modern 2024), Safe House (Peckham 2024), HSBC (Canary Wharf 2023).
NEW WORKS IN PROGRESS (2025-26)
Downstream Constellation gives physical presence to a lived and entangled cosmos. The forms, held in a state of delicate suspension, invite viewers to witness geo-cosmological dynamics that usually remain unseen. Within their quiet balance are echoes of space matter folded into the habitats of Earth and the subtle energetic forces that course through the body.
The shifting buckwheat hulls, the tensile seams, and the porous surfaces of distemper and marble dust create a gentle flexion within the sculpture. Each form becomes a soft register of pressure, revealing the intimate negotiations between gravity, tension and breath. These slight movements and weight transfers speak to the unspoken burdens carried across emotional, environmental, social and esoteric realms that shape the body and its relations.
Downstream Constellation gathers these forces into a quiet choreography that draws the unseen into view. It offers a moment to sense the continual adjustments and interdependencies through which we survive, support and connect.
The shifting buckwheat hulls, the tensile seams, and the porous surfaces of distemper and marble dust create a gentle flexion within the sculpture. Each form becomes a soft register of pressure, revealing the intimate negotiations between gravity, tension and breath. These slight movements and weight transfers speak to the unspoken burdens carried across emotional, environmental, social and esoteric realms that shape the body and its relations.
Downstream Constellation gathers these forces into a quiet choreography that draws the unseen into view. It offers a moment to sense the continual adjustments and interdependencies through which we survive, support and connect.
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).
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.
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).
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).
TWENTY (2025)
,Twenty wool fleeces, cording, flocking, thread, muslin, metal, wood
TWENTY invites a slow, attentive encounter with materials that carry deep histories of labour, interspecies entanglement and shifting economic value. The work emerges through processes that require time, repetition and intimacy: gathering raw fleece directly from the body of the sheep, working with its lanolin, its soil and its residues, and allowing the material to reveal its own rhythms of density, weight and movement. These acts foreground a truth that arises through listening to what the material already holds.
Patience is essential to both the making and the viewing. Raw fleece resists immediate legibility, its textures, scents and tonal variations ask the viewer to remain with what might first appear chaotic or abject. Over time, the endurance of sheep, their communal survival and their long entanglement with human economies begin to surface. This includes the 1666 Burial in Wool Act, which briefly required the dead to be wrapped in domestic fleece in an attempt to stabilise England’s wool trade. The circular structure, cording and flocking invite reflection on ancestry and exploitation, revealing how capitalism continually reassigns value to living beings and their materials. The work proposes that truth emerges slowly, through sustained attention, care and material encounter.
WRITING > AUTOMATIC
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).
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).
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).