Gestural Assembly is the method of my practice. This method works to contrive light juxtapositions of material and form via a slow sensory process with the perceptive outcome of speed and chance, such as a haiku in 3D, dedicated to the expression of much within the fewest possible compositional attempts.

These juxtapositions lead to a specific permission: to allow a movement to linger in the understanding that an object becomes more poetic in the suspense of a destructive action. GA works to contain this feeling of an imminent collapse, with each collection focusing on a parallel sensation illustrated in its title.

The chosen category of sensation is originally understood in a preliminary collage, a delicate placement of semi-recognisable forms that research the motive of the ‘suspended-movement’. A concrete oxymoron of sorts.

The collages are pulled into final works via a series of taut, sincere 3D markings, each gesture cut short to expose a certain restraint. This pleasure of limitation is felt from the start of the process, only growing with each new addition, resulting in final works composed of minimalist accents harnessed together through tension in form.