Known and the unknown, comfort and discomfort, familiar and the unfamiliar.

My practice lies within the uncanniness of everyday life; the uncomfortableness that lies dormant in our daily objects and surroundings. Inspiring works such as How to Make a Potato Inedible, and A Film A Day Series, both films touching upon phobias like arachnophobia and trypophobia. My practice centers around the mediums of drawing, sculpture, and film, as well as everyday objects. The medium of film heightens the senses through my interactions with the work and objects; developing sensory connections for both me and the viewer as inanimate objects become animate. Within my films, I use my sculptures as props to generate an uncanny atmosphere; whether my actions are watched from afar with my hands interrupting the scene, or whether my actions are watched at an uncomfortable closeness. Whilst being interested in making handheld sculptures to form a closer connection to the body; the wanting of touch and comfort ignited.

The Uncanny by Sigmund Freud from 1919 has had a significant impact on my practice, as Freud picks apart why certain elements of the every day bring us discomfort. As well as the work by filmmaker Jan Svankmajer, with him twisting normal situations and making them uncomfortable to watch, like in his film Food from 1992. Themes of tension arise within the practice, in terms of the known and unknown blurring into one to create a sense of uncanniness. With domestic objects shown in places to contrast the normal and unnormal, this being shown within my film Can I Lend you a Hand? . This constant observation into everyday objects and finding ways to obscure their original states unearthing the uncanny.

My main intention is to find out what makes you uncomfortable.