What happens when technology evolves past our control and develops its own ecology?
Chrysalis Machine exists in that threshold - where millions of years of biological evolution collapse into something new. A post-human entity that no longer belongs to natural ecosystems, perpetually transforming according to rules it writes for itself.
CHRYSALIS MACHINE has probably been one of my most technically challenging works, but also one of the most rewarding.
It is currently exhibiting at The Old Waiting Room in Peckham Rye with @the.art.club.collective .
Cinematography: @jonolegrice
Sound design: @t3j____
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CHRYSALIS MACHINE is a hybrid creature suspended between nature and technology. Motors, crankshafts, and pumps drive its metamorphosis, neither fully organic nor mechanical, but something in between. The work questions where humanity ends and the machine begins, dissolving the boundaries we draw between the natural and artificial worlds.
Stainless Steel, Silicone, Motors, PLA, Controller
Back from the @therdifaculty Summer Session. A short residency spent with designers, scientists, and engineers at @dartingtontrust .
Thank you to the RDI’s who made it possible.
Photography: @philipvile
During a few days at @grymsdykefarm , the “anti-scare crow” was created, a site-specific installation made from scrap materials and natural objects found around the farm. Designed for the Anthropocene, where wildlife has grown particularly wary of human presence, this figure features a hand-carved bird call amplified through a phonograph. Rather than repelling birds like traditional scarecrows, the figure is intended to attract them and encourage safety around humans again as a means to reestablish coexistence.
I am honoured to have been selected to exhibit STILL LIFE at @saatchi_gallery this Friday till the 19th of September as part of @londonartcollective_official ArtEvol 2025.
Photographer: @cieranjayphoto
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STILL LIFE explores the uncomfortable truth that we find beauty in death, provided it isn’t our own.
The sculpture questions power dynamics around empathy, how we determine which bodies deserve compassion and which become mere objects. Inverting the traditional composition of 17th-19th century still life paintings, positioning the human figure in that same position of powerlessness: aestheticised, stripped of agency, arranged for our gaze.
The work doesn’t rely on shock or violence. Instead, it dismantles human exceptionalism by reversing our expected role from observer to observed. When we become the subjects rather than the viewers, the comfortable hierarchy we’ve constructed begins to unravel.
New work, STILL LIFE, an inversion of traditional 17th-18th century paintings where rabbits, hares, and other animals were glamorised in death.
The work explores the uncomfortable truth that we find beauty in death, provided it isn’t our own.
Resin, wood, fabric; non-reflective glass shadow box
59 × 48 × 20 cm
Photographer: @cieranjayphoto
Reference work: Pieter Snyers, ‘A Dead Hare’, c. 1750
