Central to my practice, both in glass and architecture, is a long-standing interest in the bond between people and place. An extension of drawing skills honed during my design training, this body of work is rooted in my doctoral research into the impact of the widespread visual bias of contemporary architecture.

My work in glass is both autobiographical in nature and an extension of the sensibilities and skills I have honed as an architectural designer; it is a reaction to vivid memories and intangible qualities of significant moments and places, with each piece distilling and communicating the essence of an experience of light and atmosphere. The haptic, hands-on act of making is contemplative - a tool which allows me to explore, strengthen and learn from my own relationship with and understanding of place.

Although a commonly used method of communication within architectural practice, perspectival representation offers a viewpoint that is physically unattainable, promoting a distance between the subject and both the viewer and the creator of the image as a result. My current series of work uses perspective drawing as a tool to contemplate and communicate feelings of detachment from place, suggesting spatial experiences that are inaccessible and unreachable, both physically and temporally.