In my current practice, I explore the concept of stillness, highlighting the relationship between stillness and playfulness, which can be considered a form of rest. While each individual may define stillness differently, I aim to introduce the art of playing as a way of experiencing it.
Using found materials such as furniture and selected objects, I repurpose them into installations that resemble everyday domestic objects, yet are not quite functional in the expected way. Through this, I hope to blur the lines between art and design, experimenting with ideas of function and non-function while simultaneously questioning consumerism within society.
These explorations developed into a body of work titled Be Still, inspired by my Christian faith and my lived experiences as a multicultural individual moving between different countries and homes before finally settling down. Beyond personal experience, the origins of these ideas came from encountering Giuseppe Penone’s installation Respirare l’ombra at the Centre Pompidou in Paris. Experiencing the work felt close to home through his use of “poor art” and the peaceful atmosphere his materials created within the space. I wanted to bring a similar sense into my own work, but with my own playful twist.
Not knowing where to begin, I turned to drawing and collage to physically manifest ideas. While gathering and experimenting with collages, the process unexpectedly led to film. Although I did not initially know what form it would take, I knew collage and play would remain central. Encountering Dayanita Singh’s works such as Pothi Khana (2018) and Bawa Rocks (2020) gave me a new perspective on how I could approach the film. I was inspired by the architectural way she shapes photographs and her playful way of noticing and seeing. Her displays encourage viewers to slow down, sit, and spend time within the work. While her works do not directly inspire mine, they shaped how I approached space and audience experience.
My sculptural installation began with a table, inspired by designer and sculptor Nacho Carbonell, particularly his Yellow Net Table (2022). His unconventional approach pushed me to rethink my own table design, leading me to use wood slices for the legs instead of conventional forms. Looking back at Penone’s installation and its relationship to nature, I wanted the table to feel playful and unexpected.
From presenting one table, I expanded into making chairs and thinking more spatially about installation. Rather than singular sculptures, I became interested in creating an environment. Chairs and tables became ways to materialise rest and stillness through domestic objects, while a floor lamp helps shape the atmosphere of the space.
The chairs were inspired by a combination of designers, including Vincent Dubourg’s Buisson Aluminium Chair, Martino Gamper’s 100 Chairs in 100 Days, and Yinka Ilori’s chair collection. Their works encouraged me to experiment freely with form and material. Each piece was intentionally cut, removed, or reconstructed with playfulness in mind.
The objects we surround ourselves with can become home. When we close our doors and enter our homes, we step into spaces that can offer refuge from the chaos outside. My intention is not for the audience to become physically still, despite the title Be Still. Instead, I hope to encourage a deeper sense of internal stillness while reconnecting viewers with childlike wonder and play. For the Degree Show, I hope the temporary space I create will reflect that feeling.