对于这些图像，我首先通过折叠数百张彩色的A4纸制作了这些作品。然后我使用小型LED灯和LED灯条以及自然光扫描每个A4元素。我后来在Photoshop中拼贴了单独的A4元素的扫描图。
我喜欢单色沙雕作品与彩色纸质作品之间的视觉张力。
For these images I first made the works by folding hundreds of A4 sheets of coloured paper. I then scanned each A4 element using small LED lighting units and an LED strip as well as natural light. I later collaged the scans of separate A4 elements in Photoshop.
I enjoy the visual tension between the stark monochromatic sand works and the colourful paper works.

对于这些图像，我制作了临时的沙雕——有些长达170厘米——然后用便携式扫描仪通过一块玻璃进行扫描。我在Photoshop中拼贴了多个沙雕的扫描图，构建了这些图像。最终的图像记录了我的雕塑过程，通过显示最上方的第一个雕塑和最下方的最后一个雕塑。
For these images I was creating temporary sand sculptures—some as long as 170cm—which I then scanned through a pane of glass with a portable scanner. I then collaged scans of numerous sand sculptures in Photoshop to build images. The finished images document my sculpting process by showing the first sculpture at the top and the final sculpture at the bottom.

我是一个生活在英国南威尔士的跨学科艺术家。在我的实践中，我探索植物材料、沙子和纸张等物体的物质性质，并经常用替代摄影方法和照明技术将这些材料转化。在我的图像中，我力图创造出不存在但看起来真实且可触摸的场景。
我的图像从大量测试开始，这些测试检查我所选材料的转化潜力。目标始终是改变材料的感知方式——纸张开始看起来像金属或丝绸，沙子则类似于木头或粘土。Photoshop的使用始终是基础的——我只用它来稍微调整对比度或饱和度，或拼贴我单独拍摄的元素。我对照明的替代方法不仅能改变外观，还能改变主题的感知性质。我总是力求在最终图像中让光源保持难以捉摸的状态。
目前，我正在将我的实践扩展到雕塑和陶瓷领域，但我的照片仍然是我三维作品的重要起点。
I am a multidisciplinary artist residing in South Wales, United Kingdom. In my practice I explore the material nature of objects such as plant matter, sand and paper, and often transform those materials with alternative photographic methods and lighting techniques. In my images, I aim to create scenes that do not actually exist but appear to be real and tangible.
My images begin with a multitude of tests that examine my chosen material’s potential for transformation. The goal is always to change how the material is perceived—paper begins to appear as metal or silk, and sand resembles wood or clay. The use of Photoshop is always rudimentary—I only use it to slightly adjust the contrast or saturation, or to collage elements I had photographed separately. My alternative approach to lighting allows me to not only change the appearance but also the perceived nature of my subjects. I always aim for my light sources to remain elusive in the finished images.
At the moment I am extending my practice into sculpture and ceramics but my photographs remain a crucial starting point for my three-dimensional works.