Artist Influences, Studio, Uncategorized

More Love Hours Than Can Ever Be Repaid and the Wages of Sin‘ (1987)


Arena #7‘ (1990)


‘Memory Ware Flat #29‘ (2001)


‘Riddle of the Sphinx’ (1990)

Throughout this project, I have included a rug with my design, as I like the way it defined the space. But after looking at the work of Mike Kelley, I have decided to think on the presentation of the rug more, treating it as an art object in its own right. I am inspired by he way Kelley uses rugs, infused with kitsch elements of the everyday to create an amalgamated, rich aesthetic. I am also inspired by the way he uses objects to interact with the rugs, such as in ‘Riddle of the Sphinx’, where he situates stuffed animals under the rug, appearing hill like along the plane of the floor. In my own work, I plan to experiment with enhancing the rug, and making it an art object, as well as a method of display.



Artist Influences, Studio, Uncategorized

Look 29, Fall 2014 Ready-To-Wear


Look 3, Spring 2011 Ready-To-Wear


Look 6, Spring 2011 Ready-To-Wear


Look 30, Fall 2014 Ready-To-Wear


Look 20, Fall 2012 Ready-To-Wear


Look 1, Spring 2011 Ready-To-Wear


Look 18, Fall 2012 Ready-To-Wear


Look 14, Spring 2012 Ready-To-Wear


Look 13, Fall 2010 Ready-To-Wear

I am highly inspired by the work of designers Edward Meadham and Benjamin Kirchhoff, and their design collaboration, the fashion house Meadham Kirchhoff. Although unfortunately now closed, the 7 years worth of catwalk shows provided exquisite gowns, rich with references and historicity. I am very interested in the particular aesthetic that they promote, intensely romantic, excessive in colour and material, and finished in beautiful excessive detail. I adore how they use the whole body to showcase a multitude of ideas, covering the female form in colour, glitter and splendour. In my own piece, I will, like Meadham Kirchhoff be unafraid to go for a maximalist aesthetic, exploring various materials, with contrasting textures, weights or colours promoting an aesthetic of excessive wonder. I am also inspired by Meadham Kirchhoff’s use of layering, to build up a sense of ultimate character in their works, sometimes using conflicting materials or styles, to build up a referential, multi-layered effect. In my own work, I would like to experiment with using different textured materials in order to create an extensively glamorous, eccentric aesthetic.



Artist Influences, Studio, Uncategorized

‘Untitled: Shelves No. 1 (series 5)’ (2012)


‘Untitled: Furniture Island No.8’ (2012)


Blades House pt II’ (2013)


The W.A Ismay Collection‘ (2014)


Untitled: Shelves No.5 (and 3 details)‘ (2008)

Picture 013

Untitled: Furniture Island No. 2 (and detail)’ (2008)

The work of Matthew Darbyshire is also very interesting as he debates issues surrounding consumer culture and consumption through his sculptures. His sculptures of slices of interior acts as dioramas, portraying the shopping and design habits of the modern age. In his work, Darbyshire forms his work in relation to shopping theory, and the ‘trendy’ design habits of the day, to project a snapshot of the essence of contemporary style through his sculptures. Darbyshire uses widely available, mass produced items of furniture from well-known retailers to create his scenes; in ‘Untitled: Furniture Island No. 2 (and detail)‘he uses an IKEA lamp, an Abacus rug and a pair of Nike Dunk Supremes. As such he is directly appropriating furniture from everyday life, transforming it into a slice of a highly designed room, and thus through this room-style composition, the sculpture forms a narrative, as the viewer wonders about the type and style of the person who inhabits the space. In my own work I would also like to provide a snapshot into someone’s room, and thus lifestyle. I am using a LACK IKEA table in my sculpture, which I will upholster with excessive pink pastel and faux fur materials. Like Derbyshire, I wanted to use an IKEA table as they are mass-produced, and so the uniqueness of the table becomes somewhat devalued by the 1000s of replications on the market. I also liked the idea of adding excess onto a table which was so simple in design, reinvigorating it for the taste of the luxury-hunting consumer. In addition, I am interested in Darbyshire’s use and collection of found objects, and how he collates these. I very much like how a sparse arrangement of objects are added into his room dioramas to improve the authenticity of the space. In my own work, I would like to experiment with adding objects to my table tops, in order to heighten the feeling of needless excess, and to make the scene more viable, as the tables have a purpose with something displayed on top of them.


Artist Influences, Studio, Uncategorized








I am very inspired by the look of the 1990s and the early 2000s. It is a moment in recent cultural history which has just passed, so is part of the collective cultural memory as people remember vividly the styles and fashions of the era. However, it is also a period which aesthetically has not yet passed, as styles from the era are still somewhat present in society and life today. I am inspired the love of wealth that many celebrities and cultural icons exhibit, as they love to show off the designer items they own to the less fortunate, yet aspiring celebrity fans. The idea of these fans creating cheap imitations, upon pre-existing items, with cheaper materials, such as revamping a table into the style of excess and luxury, is the basis of my piece; I want to create a sculpture which states it is a cheap imitation, aspiring to the celebrity look of the recent past, and as such becomes a cultural artefact – endlessly past, yet in its ideas omnipresent. As such I plan to combine an aesthetic of the 1990s and early 200s, with that of a more traditional style. This dichotomy presented between the luxurious and the commonplace and traditional, will prove to be an interesting contrast, presenting the rift between the want for luxury and the means to achieve it. Visually, I am inspired by the 1990s love of leopard print and pink, and aim to use these colours heavily within my own work.




Artist Influences, Studio, Uncategorized

‘Untitled (Hotel)‘, (2008)


Untitled (Rehearsal Room)‘, (2008)


Untitled (Corner Shop)‘, (2008)


‘Untitled (M.O.)‘ (2007)


‘Untitled (S.E.)’ (2008)


‘Untitled (Lounge)‘, (2011)


I am very inspired by Menno Aden’s series of ariel room photographs from his series ‘Room Portraits’. I like the ability to peer into someone’s life, gaining a snapshot of who they are though their material possessions. The ‘Room Portraits’ at once feel very intimate, yet also somewhat staged, as you are hovering above the scene in an unnatural position. I would like to recreate this tension between the real and the false in my own work, providing a snapchat of an interior, yet it be very obviously garish, and so therefore unusable, and unattainable.


Artist Influences, Studio, Uncategorized





Above are a series of photographs from Jeremie Egry’s recent work. I am very inspired by how Egry uses subjects from both natural and unnatural sources, as well as how he uses subjects from everyday, contrasted against subjects which are rare and precious (such as the apple/pear sat on top of the marble). With regard to material, I am very interested in how he wraps fruit in tin foil, concealing all its natural features and allowing its shape to take precedence, shining through with the mirror-like qualities of the foil. In my own work, I want to contrast ‘high’ and ‘low’ materials to create an excessive and brash look, and by using tin foil in a similar way to Egry, in order to cover up the table legs of my sculpture, it will provide an interesting mirror effect using a cheap material. At once the table legs will reflect the products surrounded by them, rendering them somewhat unseen until properly looking into the sculpture’s form.


Artist Influences, Studio, Uncategorized

I am very inspired by the aesthetic of music videos from the PC Music recording label and associated acts. These videos play with a sense of temporality, as they combine tradition, early 2000s and modern aesthetics. I am very interested on this mixed historicity within the works, as time is mixed through aesthetics into a non-linear format. In my own work, I would very much like to encapsulate this sense of mixed historicity as I combine the aesthetics of the 1990s and early 2000s, through my use of pink, fur, leopard print and glitter, with the traditional, such as the old-fashioned patterned rug. In combining these aspects I hope to create internally conflicting works, as I build upon traditional elements such as the table and the rug with audacious materials to form an interior-style monument to excess.


Artist Influences, Studio, Uncategorized

I Told You Once, I Told You Twice‘ (1977)


Bourgeois Bust – Jeff and Ilona’ (1991)


Christ and the Lamb‘ (1988)


‘Michael Jackson and Bubbles’ (1988)


Couch (Kama Sutra)‘ (1991)


‘Ilona on Top (Rosa)’ (1991)

koons_009-045_Amore arch.tif

Amore‘ (1988)


I am very inspired by the work of Jeff Koons, and his particularly kitsch aesthetic. The dictionary definition of kitsch is, “art, objects, or design considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way.” I feel this sums up Koon’s work, as he uses pop culture motifs and a seemingly bric-a-brac aesthetic for his sculptures, with always the right hint of irony in the overwhelming brashness. Through his use of these brash aesthetics, he taps into a cultural consciousness and sentimentality, as many viewers will remember very similarly styled objects from their childhood. In my own work, I would like to evoke a sense of memory, through the use of common, easily found, yet luxurious looking fabrics.  I am particularly inspired by his work ‘Ilona on Top (Rosa)‘, as he uses a soft pink colour scheme and butterfly motifs to contrast against the sexual act being portrayed in the sculpture. I find the distinct questioning in this work very interesting, as the artist challenges the notion of sex as a demonising act, instead enforcing a sense of brashness due to modelling himself as the male. Furthermore, I am also very inspired by the soft pinks, yellows and then bright golds used in Koon’s early work, as they catch the eye in their glittering sensationally. The modern ‘fashionable’ aesthetic demands a much more toned down colour palette, but I would like to reinvigorate these pastel and metallic shades in my own sculpture, through the use of unconventional materials.


Artist Influences, Studio, Uncategorized

‘More Blancmange’ (1988)


‘Dark Style Swan’ (1985)


‘Occurence on an Endless Column’ (1987)


‘The hole through which all things must pass’ (1987)


‘That Turangalila Symphony really rocks man’


‘The Mind of the Artist (Exposed)’ (2012)


‘The Embarrassment of Jimmy the Nail’ (2014)

I find Eric Bainbridge’s work fascinating as he mixed both abstract and representational shapes with garish excessive materials, contrasting the notion of the ‘high’ minimalist sculptures as they are adorned with faux fur and shapes of indistinct, yet noticeable animals. Clearly inspired by Modernist sculptor Anthony Caro and his toppling amalgam forms, Bainbridge has updated the simplicity of Modernist sculptures focus on material and shape, for the information age, overwhelming the look of his sculptures with rugs, bright colours and lots of fur. I am very inspired by Bainbridge’s work, as he takes references from recent artistic and cultural history to inform his works, much like I aim to do in my own sculpture to spark a sense of memory and sentimentality with the viewer. In addition, I am also very inspired by Bainbridge’s use of fur as an excessive, yet kitsch addition to his sculptures and I would very much like to include this within my own work. I see fur as an excessive, glamorous material, yet using faux fur, (as Bainbridge does, he finds his from second hand shops) creates an interesting contrast between the appearance of excess and wealth, and the appearance of cheap imitation – a contrast I deeply want to achieve within my own sculpture.


Artist Influences, Studio, Uncategorized

‘Sofa In Black’ (2011)


‘Fountain of Light’ (2007)


‘Ghost Gu’ (2007)


‘Pusher, Cao’ (2014)


Surveillance Camera with Marble Stand‘ (2015)


‘Bicycle Chandelier’ (2015)


S.A.C.R.E.D‘ (2011-2013)

I find Ai Weiwei’s work endlessly fascinating, as he influenced by both modern and past cultures to create works which challenge the corrupt systems of his native China. The influence of Chinese cultural heritage can be seen throughout his work, and I am very interested in how he has used combined both ancient and recent collective cultural memory to incite very real emotions regarding the history of China through his subtle subversions to cultural artefacts. I am very interested in this idea of cultural memory, and in my own work I would like to use recent historical moments in art, fashion or culture to create a strange convergence of past, just past and present within my work. In addition, I am very inspired by Ai Weiwei’s use of incredibly high quality, high priced materials, such as marble, made to look like everyday objects from Weiwei’s life, such as ‘Surveillance Camera with Marble Stand’. These marble works present an interesting conflict between wealth and the everyday, as marble is inherently part of the Chinese artistic heritage, but is an element of wealth unaccessible to the everyday Chinese citizen. I am inspired by the deception of the material from the true subject of the sculpture, and would like to contrast elements of the ‘high’ quality material but ‘low’ everyday subject matter in my own work.