Aetherkind (2025), at first glance, is set against the static Bolton Watt Engine while the installation itself is suspended, flowing down. The Bolton Watt Engine is one of the iconic engines that powered the Industrial Revolution, and it contrasts highly with the installation of plant prints and collages. Therefore, this has pitted industrialisation against ecology.
The figure in the installation seems to be merging into the fluid and dissolving into the shifting environment, dissolving into leaves and, eventually, a tree. This could potentially connect to the background, which is a steam engine that used steam, vaporous and flowing, to power the industry. In this context, it can be interpreted as something that is not opposing but speaking to each other, perhaps adapting to each other.
The Seraphic Rooting of the Mothership (2025) combines industrial debris and organic matter into speculative futurism that diverts between natural and mechanic. From the hazel branches, a mid-20th century diesel centrifuge to plastic components connects both organic and inorganic, showcasing them as inevitably symbiotic to each other. The human face within the work is fragmented and appears quite ghostly within the hazel branches as though it is transitioning into the branches but cannot be fully merged into the natural. Thus, as mentioned previously, it is symbiotic.
However, the work’s title suggests that the Mothership is rooted on the planet Earth rather than leaving as one would expect a Mothership to do. It inverts the concept that technology will take us away from Earth, and instead, our survival is by staying on Earth to fix and use technology to become more symbiotic with this planet. The work uses the entanglement as something that becomes positive and engages possibility as the Earth calls for us to stay, salvage, and make better – something more complex than just escaping or making Earth perfect- but to reimagine Earth with technology.
Aletheflora, The Eternal Ephemera of the Mechanical Bride (2025), is an installation surrounding the world’s largest working beam engine. This gives a mechanical (old copper ball cock and a drill) tension against the organic (autumn leaves and beeswax). Despite the difference in permanence (in the mechanical) and the eventual decay within organic objects- they form a cycle. One side is strong and stable while the other becomes fragile, yet every object- no matter how permanent it may seem- will become something else in time.
However, The Marriage Hearse explores the collision between purity and corruption against beauty and destruction. This, therefore, is implied in the work as the title ‘Aletheia’ – truth and ‘flora’ are merged as it challenges how organic life exists within the current machinery of contemporary society.