my projects in development
As a current MA Sculpture student at the Royal College of Art, I have expanded into metal fabrication and kinetic sculpture, integrating motors and sensor-based interactions that introduce cycles and controlled repetition.
These looped rhythms mirror how human behaviour is conditioned. I explore how sculpture can respond to presence and participation, transforming audiences from passive observers into self-aware thinkers.
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Increasingly drawn to public space, I test how context alters meaning: how perception shifts depending on who controls the frame, who dictates the narrative, and what is left unseen. My work invites a reconsideration of what we see, what we know, and how those ideas are formed in the first place.
no head – no trouble (in development)
Zoetrope installation
Projected final size 120cm x 120cm x 60cm
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This kinetic installation uses a looping, headless pink chicken to critique the cycles of invisible labor, societal pressure, and gendered expectation.
Incorporating LED screens and experimental Pepper’s Ghost effects reflections, the work blends physical animation with illusion to explore themes of control, repetition, and erasure.
The absurdity of the motion—a chicken endlessly running—mirrors how media and systems normalize inequality, turning it into spectacle. A smaller prototype is currently under construction to test motion, light synchronization, and projection.
piñata-based sculptural series (in progress)
Metal, plastic, print, kinetic elements
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This series reimagines the piñata as a politically charged sculptural form. Traditionally symbolic of festivity and release, these works are being developed to resist destruction—shifting the focus from spectacle to critique. Each piece explores a different layer of social pressure, control, and gendered performance, engaging with systems of silence, fear, and misinformation.
One work-in-progress uses translucent materials to make internal contents visible but unreachable—inviting interrogation of the hidden mechanisms behind perceived truth. Another, planned in metal and printed with fragmented newspaper text, reflects on how media distorts public perception. A third design takes the form of a segmented grenade, with each section shaped like a woman’s breast—objectified, fragmented, and reassembled into a symbol.
