The project documents my relationship with religion, particularly the C of E church. I’ve not been able to label myself as a Christian or not for a long time And equally, I’ve never even thought about it. Making this work, I hoped, was a way of looking inside these church spaces, religious books and objects to Find an answer to this.

What was the most challenging thing about your project?

The most challenging part of making the work has definitely been surrounding self-interrogation if you like. Making this project has been very emotional for me because dealing with religion is something I find very difficult personally. I find the subject so large and so personal but because I haven’t thought about it in so long, I’ve felt like I had to question myself and really lay everything out To myself, which has been very hard. I’ve also found research quite difficult; whilst religion is such a vast subject I’ve found it quite difficult to find practitioners that make work regarding it.

How do you see this work progressing outside of university?

I hope to continue working on the project after I leave. I think the project might be something I’ll end up going back to because I think it will have a few different phases. In life there’s a few milestones and my feelings towards the church, religion and the practice of religion might change when I hit those.




Plantae is an ongoing project that focuses on the commodification of nature. The project takes shape in the form of sculptural pieces, that at a first glance appear to just be normal houseplant species, but upon closer inspection it is revealed that they are made entirely of images on paper. These replicas are created to be as realistic as possible with the intention of also drawing attention to the current trends of keeping fake plants instead of their real counterparts, even if they are more expensive.

Who inspired you to create the work?

This project has taken inspiration from many different sources. To name a few artistic inspirations: Max Liboiron’s Sea Globes, Ai WeiWei’s Sunflower Seeds, and Jeff Koons’ work with steel inflatable sculptures. The main inspiration for this work is the natural environment; I selected the Snake Plant (Sansevieria trifasciata) and Spider Plant (Chlorophytum comosum) because they are two of my favourite species, and I have kept these plants before when creating habitats for geckos and other species of animal, they are ideal! I ended up selecting the Hyacinth (Hyacinthus orientalis) because I would always walk past hundreds of them on my journey to work, and they are very beautiful! I have also created daffodils and roses, although they will not be featured in the exhibition!

Why did you choose this methodology?

This project has given me the opportunity to combine my background in art with my passion of photography, and I have really enjoyed progressing with this project and I am always looking at new ways to improve my skills! Presenting images in a sculptural piece is very challenging, and not very common, so I enjoy finding new ways to push the boundaries of photography and art, blending the two together as much as I can!

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Following on from the previous work 444 Days, 16 Yellow Roses depicts my grandmother living alone since becoming widowed after her husband’s death in late 2017. Images of my grandmother’s home, garden and life, as well as text taken from conversations around her new life, manifest themselves within a handmade photobook accompanied by a set of prints. The peaceful imagery is a reminder that becoming widowed has left my nan feeling lonely at times, but the warmth of the images alongside the recurring theme of light and growth represents hope for the new life my grandmother has made for herself.

What was the starting point to your project?

The starting point for this project for me was developing on from work that was based around my grandfather, but feeling the need to work with my grandmother again. I feel that it is beneficial for my grandmother and I to work together for projects like this. Having the discussions that are shown within the work has allowed us to build up a relationship where we can both openly discuss how we are feeling. I feel this is especially important since my nan has become a widow and now lives alone.

How do you hope to engage your audience with the themes surrounding your project?

The aim of the work is to bring an awareness to loneliness that people can experience when losing a loved one. But also the idea that despite the loneliness that some may feel, that there is always hope.

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The Vanity of Plastic explores how the amount of plastics we use every day accumulates and contributes to the global plastic pollution crisis. With nearly half of plastic in existence being produced in the last 19 years, the work presents 19 typical plastic items as composed, still life photographs; making the ugly, appear beautiful. The intention of the work is to make the audience realise that using so much plastic, and wrongly disposing of it is having a disastrous effect on our planet as well as creating risk to ourselves.

What was the starting point to your project?

Environmental preservation has always been something important to me. Video clips, reports and photographs of destruction of our natural world and the life within it is something I feel I can’t ignore. So from the start, I wanted to create a big piece of work that shocked people and makes people realise the impact their individual decisions are having on the world. Often enough, we see documentaries and other works that provide alarming figures about how much plastic waste is being produced by certain countries or continents. I wanted to create work that emphasised the responsibility of people individually, not as a collective region.

How do you hope to engage your audience with the themes surrounding your project?

I want my audience to feel a sense of responsibility. I want them to realise that the more plastic they buy, the more will be produced. The more that’s being produced means the more risk of damage to the natural world as well as ourselves. I don’t want to try and tell people to never use plastic, I want to encourage them to just reduce the amount they use and dispose of the plastic they do use, correctly. Even if one person reduces the amount of plastic they use by half, then one is better than none.




Middle of Nowhere documents the transitional landscape found between suburban housing estates. The images follow a journey of the surrounding borders and into the green space, exploring an interaction between suburbia and wilderness.

What was the starting point to your project?

Throughout my photographic practice I have been interested in the land and our relationship with it. The green space my body of work responds to has intrigued me ever since I moved onto the nearby housing estate, over ten years ago. Walking through modern suburban housing out into the green belt area I was always struck with the contrast of one landscape to another. This ignited an impulse to make images of this space, and I wanted to communicate the mundane suburbia transitioning into the liminal landscape, unable to be built upon.

What do you want the audience to take from your work?

I believe that many people appreciate these small areas of green belt land, and have their own personal feelings attached to the land. I hope the audience can find a universal feeling through my images and see that these spaces become even more special as they are becoming few and far between. The change to the landscape by walking a few steps completely changes the experience of the viewer, as if feeling transported to a different place entirely.


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Adventurous Cooking is an archival investigation into a relationship between artist and subject; Grandmother and Granddaughter.

What was the starting point to your project?

The starting point of my project was finding a huge archive of my Grandmother’s last summer, as I knew very little about her I used this project as an exploration to create a subjective persona of who she was. At first it was purely an investigation into the archival material I was presented with to do this, but it turned into a performance of the album which really helped create a physical connection between her and I.

How do you see this work progressing outside of university?

I personally see Adventurous Cooking as just one chapter of a much bigger project. I want it to grow into a piece where all of its aspects can be cohesively shown, which will be done through the narrative of different chapters coming together.

What do you want them to take from your work?

I would like the audience to note the artist and subject relationship as being something at the forefront of the work. However, in terms of the images and specifically the staging of them, I’d like the viewers to take away a personal interpretation of the subject’s persona as well as what her career was. This is important because this body of work is my personal interpretation based upon the visual imagery and information within the archive, and I’d like the audience to experience that as well.