My practice explores the notion of different invisible forces within the gallery, acting upon forms in space. These forces twist or stretch the sculptures, or pull the ‘skin’ of them away to reveal their raw inner structure and anatomy beneath. Surface is particularly considered; for example, a highly reflective surface distorts the body of the viewer, affecting their relationship to and experience of the work. Reflective facades also warp the surrounding architecture, providing juxtaposition between the real world and the fictional world that lies on and within the work. Rusted and aged surface also plays on the element of time, causing the work to appear as if the processes acting upon it have been long and slow; the sculptures’ composition captures a moment in time as this process occurs. This sculptural language is ultimately at the centre of my practice, referencing modern architecture and automotive engineering, as well the historical context of sculptural issues for instance, balance, weight and tension.