My practice is informed by the Anthropocene. Humanity has accelerated the rates of emissions from natural resources for industrialisation. Situating production, labour and the consumerist mindset within the environmental crisis. The narrative of the Anthropocene however must be decolonised. The Plantationocene provides a more accurate representation about how the composition of the planet has been altered, due to movement from colonialism. This framework is important to my practice because it signifies that forced labour from colonialism allowed for the foundations for the great acceleration which jumpstarted the environmental crisis. Ultimately, the Anthropocene theory skips over this important factor. Moreso, Capitalism is the driving force of constant demand and supply, the chain of production, in which the environmental crisis is illuminated.
My work examines how the production of materials impacts the environment. I have restricted myself to working with only found materials, like second-hand clothing and textiles, to avoid consuming new products. I sew materials together, using a sewing machine, to create new sculptural forms. I want these sculptures to inhibit a space within the gallery, to allow the work to be considered through two contexts: exterior and interior. I seek to expose the rawness of the material's production through the interior, whilst simultaneously offering a reconstructed aesthetic of the material, through the exterior. Recently I've been thinking about scale. Larger sculptures take up more space and therefore demand more attention; scale informs agency. Scale and the verticality of hanging activates my sculptures. Through these processes I want to communicate work that recognises our participation in the destruction of the environment and to make people aware of their complacency in our ever-growing consuming capitalist society. The aim of my work is a medium to protest against governmental and corporeal powers who govern emissions.