Props
projects in which physical making takes the lead- props as three-dimensional illustrations:Hugging the Walls [furnished doll’s house] 2021
One Day We’ll Move Back to the Sea [coptic bound book] 2021
A Dog’s Ear [various] 2022
Old Vic Collaborations [installations] 2019 / 2020
Unity Game Design [Unity Software] 2020 ongoing
For Georges Perec [ceramics, woodwork] 2022
One Day We’ll Move Back to the Sea [coptic bound book] 2021
A Dog’s Ear [various] 2022
Old Vic Collaborations [installations] 2019 / 2020
Unity Game Design [Unity Software] 2020 ongoing
For Georges Perec [ceramics, woodwork] 2022
Hugging the Walls
[furnished doll’s house]
2021
Hugging the Walls reconstructs an inherited childhood doll’s house using only the memories of those who passed it along as inspiration. Via a series of interviews with two aunties and a father, a childhood home is replicated. The project sought to investigate memory and nostalgia, and how the act of making can connect oneself to a heritage. As appears as a regular theme, the project seeks to reconstruct and materialise narratives that may otherwise go untold.
Hugging the Walls is where a love of model making/ adapting blossomed; a particular interest lies in the grounds between the exacting, meticulous tradition of model craft and modern-day storytelling. This ground allows makers to be tutored by the extensive history of model craft techniques, but employ it in an illustrative, experimental manner.
![]()
![]()
![]()
![]()
[furnished doll’s house]
2021
Hugging the Walls reconstructs an inherited childhood doll’s house using only the memories of those who passed it along as inspiration. Via a series of interviews with two aunties and a father, a childhood home is replicated. The project sought to investigate memory and nostalgia, and how the act of making can connect oneself to a heritage. As appears as a regular theme, the project seeks to reconstruct and materialise narratives that may otherwise go untold.
Hugging the Walls is where a love of model making/ adapting blossomed; a particular interest lies in the grounds between the exacting, meticulous tradition of model craft and modern-day storytelling. This ground allows makers to be tutored by the extensive history of model craft techniques, but employ it in an illustrative, experimental manner.
One Day We’ll Move Back to the Sea
[digitally printed coptic bound book]
2021
One Day We’ll Move Back to the Sea is a multi-pronged project which explores the boundaries of documentation by reconstructing anecdotes. Using archive databases, prop making, and image manipulation, the stories retained of the maker’s parents' love affair are physicalised in various images; the project’s telling of ‘true’ stories through realistic but falsified evidence engages with the cinematic phenomenon of ‘docu-fiction’ and comments upon the variance to which we believe stories based upon material evidence.
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
Old Vic Collaborations
[interactive installation of three structures / vinyl window displays]
2019 / 2020
Collaboration with Ayumi Yanagi, Bug Shepherd-Barron, Cicely Pilkington, Ellinor Myskja Balke, Grace Barnes, Josie Owen, Katya Hudson, Megan Willett, Natalie Fitch, Olivia Wu, Patrycja Micek and Tilda Shaw-Nichols
The Old Vic Christmas Tree (2019) took inspiration from Dickens’ A Christmas Carol to create three interactive structures. The installation used an Arduino board to monitor the trees' sensitivities to sound, programmed so they lit up differently depending on the level of noise in the foyer of the theatre. The resulting installation meant that when it was busy and loud the trees would glow at full brightness, and when quiet and empty, they would be dim. For 2020, the project was updated for Covid-19, and vinyl window displays were designed instead.
![]()
![]()
![]()
![]()
![]()
[digitally printed coptic bound book]
2021
One Day We’ll Move Back to the Sea is a multi-pronged project which explores the boundaries of documentation by reconstructing anecdotes. Using archive databases, prop making, and image manipulation, the stories retained of the maker’s parents' love affair are physicalised in various images; the project’s telling of ‘true’ stories through realistic but falsified evidence engages with the cinematic phenomenon of ‘docu-fiction’ and comments upon the variance to which we believe stories based upon material evidence.
Old Vic Collaborations
[interactive installation of three structures / vinyl window displays]
2019 / 2020
Collaboration with Ayumi Yanagi, Bug Shepherd-Barron, Cicely Pilkington, Ellinor Myskja Balke, Grace Barnes, Josie Owen, Katya Hudson, Megan Willett, Natalie Fitch, Olivia Wu, Patrycja Micek and Tilda Shaw-Nichols
The Old Vic Christmas Tree (2019) took inspiration from Dickens’ A Christmas Carol to create three interactive structures. The installation used an Arduino board to monitor the trees' sensitivities to sound, programmed so they lit up differently depending on the level of noise in the foyer of the theatre. The resulting installation meant that when it was busy and loud the trees would glow at full brightness, and when quiet and empty, they would be dim. For 2020, the project was updated for Covid-19, and vinyl window displays were designed instead.
A Dog’s Ear
[various materials]
2022
A Dog’s Ear seeks to expand what it means to illustrate the written word, mostly through realising authors' texts through the making of three-dimensional objects. Culminating in a printed book, various techniques were employed to illustrate the ‘dog’s ears’ of the books read in the previous year. Spanning from woodwork to foraging, table setting to taxidermy, the work seeks to represent reference material in a playful and unexpected way.
![]()
‘I forgot, I used to know’
[set designed, dressed and photographed]
![]()
![]()
‘the man with the scarred hands [...] she is sitting in the chair of his crossed forearms’
[children’s chair adapted from scrap furniture]
![]()
‘transformed utterly, a terrible beauty is born’
[taxidermy object]
[various materials]
2022
A Dog’s Ear seeks to expand what it means to illustrate the written word, mostly through realising authors' texts through the making of three-dimensional objects. Culminating in a printed book, various techniques were employed to illustrate the ‘dog’s ears’ of the books read in the previous year. Spanning from woodwork to foraging, table setting to taxidermy, the work seeks to represent reference material in a playful and unexpected way.
‘I forgot, I used to know’
[set designed, dressed and photographed]
‘the man with the scarred hands [...] she is sitting in the chair of his crossed forearms’
[children’s chair adapted from scrap furniture]
‘transformed utterly, a terrible beauty is born’
[taxidermy object]
For Georges Perec
[ceramics and woodwork; table laying contraption & tea set]
2022
For Georges Perec uses two line’s of Perec’s Species of Spaces to create two props, then photographed. A table laying contraption responds to Perec’s confession ‘when I give a party, my work table is entirely cleared and covered in paper table- cloths’, and a faulty tea set, inspired by his question ‘how to expel function, rhythms, habits, how to expel necessity?’.
![]()
![]()
![]()
cookie Jar, milk jug and tea cups [fired stoneware]
![]()
![]()
table setting device [scrap wood construction]
[ceramics and woodwork; table laying contraption & tea set]
2022
For Georges Perec uses two line’s of Perec’s Species of Spaces to create two props, then photographed. A table laying contraption responds to Perec’s confession ‘when I give a party, my work table is entirely cleared and covered in paper table- cloths’, and a faulty tea set, inspired by his question ‘how to expel function, rhythms, habits, how to expel necessity?’.
cookie Jar, milk jug and tea cups [fired stoneware]
table setting device [scrap wood construction]
Unity Game Design
[Unity Software]
2020 ongoing
As a complement to material making, virtual rendering is a further way in which an interest in physicality and modeling is exercised. La Boheme is an example of what can happen when two seemingly disparate ways of making collide; the organic, traditional mode of observational recording of the opera is reimagined in the virtual world, alongside ‘props’ such as falling blossoms and an operatic soundscape.
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
La Boheme drawn live, transcribed into Unity [ink on paper, Unity software]
[Unity Software]
2020 ongoing
As a complement to material making, virtual rendering is a further way in which an interest in physicality and modeling is exercised. La Boheme is an example of what can happen when two seemingly disparate ways of making collide; the organic, traditional mode of observational recording of the opera is reimagined in the virtual world, alongside ‘props’ such as falling blossoms and an operatic soundscape.
Virtual Portfolio [Unity software]
