2025 Graduate Showcase Central Saint Martins | London, UK
Topology of Friendship continues an evolving inquiry into the inner world. Here, that inquiry unfolds through the lens of friendship. The piece explores the impossible desire to make one’s interior landscape visible to another: to translate thought, feeling, and memory into shared form. In doing so, it confronts the gap between what is felt and what can be expressed, what is known privately and what can be known together.
It offers a space where two inner worlds might brush against each other—not to merge, but to recognise their distance. That failure becomes its own site of intimacy, a moment of resonance made possible through the very act of falling short.
At its core, this piece gestures toward the void at the centre of the self. Not as absence, but as potential. It offers no resolution, only invites a moment of wonder.
Topology of Friendship continues an evolving inquiry into the inner world. Here, that inquiry unfolds through the lens of friendship. The piece explores the impossible desire to make one’s interior landscape visible to another: to translate thought, feeling, and memory into shared form. In doing so, it confronts the gap between what is felt and what can be expressed, what is known privately and what can be known together.
It offers a space where two inner worlds might brush against each other—not to merge, but to recognise their distance. That failure becomes its own site of intimacy, a moment of resonance made possible through the very act of falling short.
At its core, this piece gestures toward the void at the centre of the self. Not as absence, but as potential. It offers no resolution, only invites a moment of wonder.
RESEARCH AND PROCESS
Throughout the MA, I’ve circled around the idea of the inner world. It’s formation, distortion, and the question of whether it can ever be shared. I treat the inner world not as a sealed interior but as something porous and relational: a fiction sustained by desire and cognition, yet constantly reshaped through encounter. Friendship, in this sense, has become more than a theme. It functions as method and medium, offering a way of thinking, making, and sensing-with. Drawing on Luce Irigaray’s philosophy of eros, I explore how friendship unsettles the self-contained subject, allowing for moments of asymmetrical intimacy, friction, and transformation. This has led to a central question that underpins my work: how might art give form to what resists articulation?
The art object has emerged as a vital tool in this inquiry. While photography remains foundational, my recent works often take hybrid sculptural form as material traces that seek to express something of the internal structure of experience. These objects don’t illustrate so much as evoke. Through them, I try to hold space for that which cannot be directly said.
Across these works, a trajectory emerges: from emotional transmission to structural visualisation, from shared failure to photographic refusal. Together, they reflect a practice grounded in the attempt to render the internal visible—not to resolve it but to trace its shape. They ask what can be sensed even when it can’t be said. They remind me that clarity is not the only measure of truth and that uncertainty too can be a form of knowledge.
What my practice does, at its core, is offer a space of proximity where emotion, thought, and relation blur—where one person might brush up against the edges of another. It does not seek to explain but to invite and to hold a moment open.
Throughout the MA, I’ve circled around the idea of the inner world. It’s formation, distortion, and the question of whether it can ever be shared. I treat the inner world not as a sealed interior but as something porous and relational: a fiction sustained by desire and cognition, yet constantly reshaped through encounter. Friendship, in this sense, has become more than a theme. It functions as method and medium, offering a way of thinking, making, and sensing-with. Drawing on Luce Irigaray’s philosophy of eros, I explore how friendship unsettles the self-contained subject, allowing for moments of asymmetrical intimacy, friction, and transformation. This has led to a central question that underpins my work: how might art give form to what resists articulation?
The art object has emerged as a vital tool in this inquiry. While photography remains foundational, my recent works often take hybrid sculptural form as material traces that seek to express something of the internal structure of experience. These objects don’t illustrate so much as evoke. Through them, I try to hold space for that which cannot be directly said.
Across these works, a trajectory emerges: from emotional transmission to structural visualisation, from shared failure to photographic refusal. Together, they reflect a practice grounded in the attempt to render the internal visible—not to resolve it but to trace its shape. They ask what can be sensed even when it can’t be said. They remind me that clarity is not the only measure of truth and that uncertainty too can be a form of knowledge.
What my practice does, at its core, is offer a space of proximity where emotion, thought, and relation blur—where one person might brush up against the edges of another. It does not seek to explain but to invite and to hold a moment open.
What I hope it might do is resonate with someone. Not everyone, but someone. To make them pause. To make them wonder. To feel, however briefly, that something in the work echoes their own without claiming to speak for it.