Having been working in glass for 9 years I have cultivated a diverse array of interests within the realm of artistic expression, with a particular affinity for the captivating and distinctive qualities of hot glass. In my creative journey, I proudly consider myself both a maker and a designer.

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 A main theme within my work is that I use traditional Venetian techniques within a contemporary context to explore themes of microbiology and environmental/ecological anxiety.

 

 In my current work I explore my experience, relationship with, and the intricacies of coral reefs. I try to recognise and respond to the similarities between the material quality of glass and the reefs; beautiful but fragile, delicate and vibrant. As well as often addressing thematic differences within my work: hot and cold, traditional and contemporary, fragility and robust etc. I seek the connections between using traditional techniques to respond to something so ancient and vast as the corals reefs, whilst positioning my practice via the use of new technologies.

 

 I am aware of the contradictory environmental/sustainability concerns regarding my chosen medium, however, my work is an attempt, as an outsider/non-scientist/artist, to visualise and understand the connection between the fragility of glass and the vulnerability of coral reefs due to climate change and human activity. I hope my work offers the audience a chance to experience the wonder as my work expresses a frozen moment of the tranquillity and awe that the coral inspires, as well as its delicate balance on the edge.

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 I believe that it is important, in a time where news of AI and global disasters increasingly dominate contemporary culture, to recognise and repair the damage human activity has caused on our planet. I hope that my work has the potential to foster environmentally conscious behaviours and contribute to broader sustainability efforts.

 

‘When it comes to surviving the Anthropocene, we are the problem and must also be the solution.’ 

 

Christina Conklin and Marina Psaros, The Atlas of Disappearing Places (The New Press, 2021).

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