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Labyrinth of Memories, Dispersed



400x1600x50mm, walnut, MDF, waxed thread, hinges, 30x50mm barcode stickers 

(each sticker is an edition of 2+1AP)

Images from Caressed and Polished and Drained and Washed' exhibited at FILET, London, 18-26 May 2024. Exhibition preview available on request.

Exhibition publication available here.


Labyrinth of Memories, Dispersed: Archive of Thermal Impressions



330x287x 60mm, archival ring binder, double sided stock sheets, divider pages, approx. 1,000 30x50mm barcode stickers 

(each sticker is an edition of 2+1AP)

Images from Caressed and Polished and Drained and Washed' exhibited at FILET, London, 18-26 May 2024. Exhibition preview available on request.

Exhibition publication available here.


Most Days are Cloudy


click to view thesis to accompany

Most Days are Cloudy is a research into what Port Meadow is. Referencing the correspondences of John Berger and John Christie, the project explores the relationship between place, colour and mood. 

The installation is  a meditation on the silver-ness of the meadow. The six-meter long, offset wall creates a corridor within the exhibition space. The silver painted front is animated with the light that changes throughout the day, reciprocating the way colours change in the meadow with time and weather. Behind the long strip and three square openings on the wall, photographs documenting the meadow over the course of a year are displayed, back-lit by the contrast in light between the exhibition space and the corridor.

Special thanks to Harry, Matty, Simon, Chris, Eve, Rachel and Spike for patiently helping.

click here to view accompanying thesis

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Demande de retrait
des encombrants*



"60 people submitted images and texts via e-mail between the 3rd and 25th of September 2022. The submissions were made into postcards and posted at random to participants."

"3-25 Eylül 2022 tarihleri arasında 60 kişi e-posta yoluyla imajlar ve metinler gönderdi. Gönderiler kartpostal haline getirildi ve katılımcılara rastgele postalandı."

All participants received three postcards: one from a stranger, one copy of their own,

and one from myself.


Postcards to strangers /
Yabancılara kartpostallar


148 x 105 mm

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How many is too many 

Home journey stills


3135 x 209 mm
209x209 mm

click here to see inside

How many is too many?

What is the limit


The limit does not exist 


you decide to define

(and one must remember that you can always un-define)


What we seem to take for granted is 

that time flows in one direction

however, in the statement

which shamelessly appears 

as a fact to many

we forget that time is in-dependent

and also co-dependent





it will flow forever

even if you do not wish

and even if

you are dead

if everyone is dead

and there is no one

time will still flow

for no one 

which is thus









time will flow just for you

as long as 

you are alive

and breathing

time is yours 

and you

are time

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Berlin to Aachen


2 min 43 sec

“ appearances are produced from all objects, not according to the nature of the objects themselves, but according to the condition of mind or body of those to whom these appearances come ”

Aulus Gellius, the pyrrhonist view on phantasiai

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The singularity of a 
moment, it's full
comprehension, and 
the pinhole


click here to see inside

Edition of 10, printed in Paris, May 2022 - available at Librarie Sans Titre

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One interpretation of the full comprehension of a moment could manifest itself in an unfolding of its space to flatten in the second dimension. The conceptual transformation of the photography and its loss remains, however the spatial arrangement of the six images assign them a new role. The perception of the viewer is shifted to think spatially rather than viewing the image as a window. 


When the same six images of the moment are 

re-ordered to be adjacent to one-another they no longer read as a space, but rather as six adjacent windows opening up into six adjacent moments. 

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Un coup de dés
jamais n'abolira
le hasard



The poem Un coup de dés jamais n'abolira le hasard (A throw of the dice with never abolish chance) 

by Stéphane Mallarmé spans over twenty pages, and is written in eight typefaces. It is one of the earliest free-verse poems, using the full space of the double spread, describing multiple simultaneous realities of a shipwreck. However, the events taking place within the poem become irrelevant, as the poem acts as a metaphor exploring the notion of simultaneity in space and time,

allowing for multiple interpretations.


The site of the double spread and my room are submerged in this installation recreating the shipwreck through three paralleled realities: the 'real', the digital (rendered), and the manufactured (scale model). 

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1:20 model of room, 280 x 195 x 500 mm, plaster, steel, PLA, perspex, and plastic

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