Lives in London, Great Britain
How do you describe your own art practice?
My practice is focused on the expanded possibilities and potential of publication, through design and production of the book as a ritual and political object. I like to consider the details of letterforms and materials of publication in wider relation to spaces and processes that hold, produce and circulate printed matter.
Which question or theme is central in your work?
I’m interested in questioning or pointing to ritual/devotional practice in relation to art production. The theme of the “talismanic” properties of the written word is central to my explorations of the shaman-like role of the book maker or those who deal in letters. This begins with the book form, but expands into symbols of language, governance and documentation.
What was your first experience with art?
Through my brother who is a painter. He is fifteen years my senior so I have many early memories of his practice. He is a traditional portrait painter but his collection of art and design books at my eye level as a child contained a Letraset type catalogue from the late 80s. The world changed when he opened this up and explained to me that alphabets have families(!).
What is your greatest source of inspiration?
Tangents are my favourite place to find inspiration. From (skim) reading widely and from conversations with my favorite tangent enablers. I think because my work makes vessels for words — through documentation, distribution, recitation and ritual — stray words I am led to in tangents come with me into projects.
What do you need in order to create your work?
Usually written words, a collaborator to speak with and preferably moonlight over daylight.
What work or artist has most recently surprised you?
Zahra Malkani, listening session A Ubiquitous Wetness which shared sound recordings of devotional songs collected from the coast of Karachi. All audio was introduced, held and framed with such tenderness and adopted devotion. The experience really transported me in a way that surprised me in relation to the spiritual potential of sound and the role of the steward of sacred sounds.