1989, Born Starkville, Mississippi, USA
2008-2012, BA, The Slade School of Fine Art, London, UK
2017-2019, MFA, Bard College, NY, USA
Lives and works in New York
Selected Projects
2024 <solo> Ilenia, London
2023 <solo> In Practice, Sculpture Center, NY
2023 Taylor Davis Selects: Invisible Ground of Sympathy, ICA Boston
2021 <solo> Compression & the song, TACO!, London
2019 Real Time, Seventeen Gallery, London
2018 <collaborative> Rough Magic, Zona Mista, London, with Sophie Lee
2018 CTRL+Z, Roger’s Office, Los Angeles
2018 Trout Steel, The Horse Hospital, London
2018 Oeoo, INOX, Copenhagen
2017 <solo> Honeymoon, Lima Zulu, London
2017 A Breath Cast in Yr Reflection, c3,The Abbotsford Convent, Melbourne
2017 No Place to Spit, SET, London
2017 That Continuous Thing: Artists and the Ceramics Studio, 1920 – Today, Tate St. Ives, Cornwall
2016 AUX, Chalton Gallery, London
2015 Maudlin Ecstasy, Fat Relic, London
2014 The Tongue Shapes Words All Too Quickly, Triangle Space, Chelsea College of Arts, London.
2010 If I could sing only one song, Sassoon Gallery, London
Grants / Awards / Residencies
2023 Rupert residency, Lithuania
2016 Artquest Peer Forum at Camden Arts Centre
2015 The Elephant Trust grant recipient for ‘building-dwelling, making-thinking’
2014 Troy Town Art Pottery Residency, London.
Role of artist not as author but as translator, activator, reckoner; the momentary plasma that enables the lightning bolt.
Sculpture as heretic form of architecture, the un-building of architecture that is the experience of space as the building process.
Heretic language as muted (mutant) voices colliding and ricocheting against/away from a ‘forward-marching’ linear time of capitalist progress. New sound describing future origins.
Becoming non-human to be disposed of, a position of language broken and hence sculptural rebuilding from a skeletal place of being. Fluid body as proprietor of change, welcoming (loving) the uncomfortable position of being in flux (khaos). Exploded subjectivity.
Origin-building, or building from an origin, a depth (void) occurring just before or just after an explosion. The music of the event of the non-human’s speech will move.
Needing to think about sculpture as not-art but a shifting, authorless space within the kosmos, and its situation as a public place of finding meaning, not a room but a door. PLACE as public space, common ground and see-through, accessible to human and non-human entities. Street detritus, weather, birds etc having as much input/presence as humans.
Sculpture as a language that communicates through co-existence (building).
