Here it is, where I work, every day! My studio’s in the house (wouldn’t have it any other way) so that my practice is integral to daily life. I am most imaginative around sleep, that I work for a couple of hours at the crack of dawn and all night (if not into the early hours of morn).

The walls are covered with research questions, sketches, images of mine and other artists’ work, my poems and essays on other artists’ work, as well as magnetic boards for easily moving things around to discover new connections between different aspects of my research.

The two settings couldn’t be more different! One’s a scene of order and reflection, the other of chaos and making. My practice is inspired by the way in which our mobility – the way that our bodies and our minds constantly move – helps us to make sense of our environment, that I make sculptures where the act of looking in some way constitutes the work. You can see from a couple of the images, that patterns emerge as visual rhythms, and colours transition in and between works, from different perspectives. While we interact with the forms, our mental image of a ‘still’ dissolves, while the imagery assumes the format of a ‘movie’ of our personal experience of improvising with the piece.

I design each piece by sketching with see-thru mirror and physical lines (eg rope, wire) then translate what is in essence a void – the internal shape of a see-thru mirror form – into a physical object in the workshop using a a variety of materials (wood, plaster, clay, rubber). Some of these forms are subsequently prototyped in acrylic before scaling up and committing to glass production. I keep these forms in easy reach to play/photograph in different arrangements and under different lighting conditions, as a way of studying the effects of light and movement inside a reflective object.

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‘Where I Make’ invites readers behind the scenes of artists from many disciplines to share photographs and a little insight about where they create their masterpieces. See more from the series here.