Between 2004 and 2015, I have completed ten significant projects; all installed in public spaces. Several of these projects have been installed in large dramatic foyer spaces- these works respond to the formal nature of this type of space, and also to the phenomenom of multiple users contained and moving within - causing the space to be constantly in flux. I use formal sculptural forms to both reflect and interact with the users of the space. I describe the two of the larger projects below.

Elenchus/Aporia, installed in the London School of Economics in 2008 is visually and thematically distinct. Consciously engaging the educative, discursive, creative character of the LSE as an institution, two separate but interrelated installations are positioned within the main and lower atrium site. The installation consists of 500 separate elements; suspended individually and as groupings. A large reflective globe forms a centrepiece: a polished red 3 metre sphere suspended in the atrium. Attached to it hangs a 1.5 metre cluster of polished, reflective steel globes and a polished steel rod. The arrangement refers to the discursive relationship between multiple elements and their shared directions and trajectories. It also suggests the linguistic relation between a formal utterance or statement and a less formal but related conversation. The institutional context is inferred, since the relationship might be that of lecture to seminar, thesis to antithesis, hypothesis to proof, axiom to theorem.

The lower Atrium site, visible from the street outside, refers back to the conceptual themes of the main Atrium installation. Comprising combinations of clustered, polished steel and glass balls and globes of different sizes and polished and painted steel bars, the relational system is more decentred and diverse. Like students leaving their lecture rooms, these objects mingle and cross-refer with less formal order but a different kind of generative potential: perhaps more open and distributed, subject to greater perspectival combinations, undecided and democratic.

Assembly/450 installed in Chelsea and Westminster hospital in 2012 is a wall based artwork constructed with 450 separate elements. Sculptural groupings of highly reflective steel spheres, steel rods and gray spheres cluster and traverse across a 30 metre space, and five separate walls. The artwork maps around the exterior of the new Netherton Grove extension in Chelsea and Westminster hospital, demarcates the entrance to the new Paediatric unit, then moves around the atrium space and culminates with the focal point of a large installation located on its massive end wall. Intervening into and accentuating the architectural spaces they occupy, these three dimensional elements reflect the viewer passing through the atrium at different levels.

" I am interested in the numerous and complex relationships, and conceptual and material exchanges that happen within the hospital; between co-workers, consultants, doctors, nurses and patients, and also between researchers. This work will reflect some of these interactions back to the users of the space. In addition, the distribution of the elements suggests the passage of both patients and workers through the building each day. While making abstract mappings of these relations; the work could also resemble an aerial view of a molecular structure, thus referencing macro and micro imagery"

In material terms the rounded shape of each individual element of Assembly/450 provides multiple reflections of the other spheres, the viewer (at ground level), the architectural environment and the changing light. Their gathered multiplicity suggests many worlds: distinct, yet each reflecting into one another – every mirrored surface situating each sphere within its neighbors. This reflective character means the piece is constantly animated, with the potential to provide its audience with unique perspectival combinations each time they engage with it, proliferating ways of seeing their environment and those within it. As some of the spheres "sink in" to the walls; the piece becomes both of the building and also reflective of it. The linear rods, and widely differing scales of the spheres provide movement and complexity to the piece.