*** Because my work is mainly moving sculpture, I have compiled a short video that summarises the 5 projects below, please see the video on youTube here or on my website to view this document in its entirety, ensure volume is on when listening please. Link to youTube https://youtu.be/BPD5oC3O2nE
Detailed images of the sinusoidal cam-shaft machine I designed and built using a motor and adapted with 3D printing technology. Inspired by the Doodson Légé device
A kinetic sculpture installed on the 15th floor of London’s iconic Space House ahead of Earth Day 2025, 372.5~ River Thames visualises real-time tidal data from the Thames through a delicately engineered system of pulleys and counterweights. Inspired by the historic Doodson Légé machine (originally built in 1948), which automated tidal predictions, this piece reimagines a legacy of mechanical intelligence in dialogue with contemporary digital methods by visualing data obtained from an API Key. Installed here in central London, this location offered panoramic views of the river, allowing the installation to become a living diagram of planetary motion. Both the sun and the moon cast shifting shadows across the sculpture’s surfaces, transforming it into a time-based canvas where celestial forces animate environmental rhythm.
The work raises questions about how we measure, mechanise, and emotionally respond to natural systems—a core interest of my practice. Alongside the kinetic sculpture, I also plot tidal data as physical visualisations using a drawing machine—materialising wave behaviour as ink on paper and continuing a tactile, embodied engagement with data.
Image of a Tidal Portrait Plotted with a Drawing Machine
2. The Lowly Barnacle
A research project funded by Arts Council England (DYCP), this work-in-progress kinetic sculpture explores barnacle behaviour as a model for understanding artificial intelligence. Drawing on Darwin’s evolutionary theory and Alan Turing’s fascination with crustaceans, The Lowly Barnacle uses a trained machine learning model to trigger responsive movement in 3D-printed barnacle forms. Above-water sounds prompt stillness; underwater acoustics trigger opening and animation, mirroring real barnacle mating and feeding strategies. By positioning marine adaptation as a metaphor for continuous learning, the piece reframes AI through a hydrofeminist lens—emphasising care, responsiveness, and interconnection. It invites audiences to consider both ethical and ecological implications of intelligent systems.
3. Residency at Tides Institute & Museum of Art
During a one-month residency in Eastport, Maine—a site known for having the world’s highest tides—I developed community-focused workshops in creative technology. Working with local high school students, I introduced principles of physical computing and environmental sensing. Using Arduino boards and tide data from NOAA and our own field collection, students created mechanical tide visualisations and trained a basic model to predict future water levels. This project reflects my ethos of making data experiential and accessible, and my belief in long-term pedagogical impact. It also underscores how art and AI can build resilience and curiosity within economically challenged coastal communities.
Image of me hosting a workshop in Eastport, where we went out and measured water levels with a depth transducer to compile our own dataset
Image of artefact developed with students from Eastport High School that visualises the water level datasets we collected as a group
Using a micro computer and a paint roller, I built a device that painted the tidal level data that was being read live from outside my studio in Eastport.
4. SEE~TURTLES
An immersive, sensory installation addressing plastic pollution and marine perception. Through motion tracking, recycled materials, and computer vision, the work simulates the disorienting experience turtles face when mistaking plastic for prey. Viewers activate kinetic jellyfish and generative spirals through their movements, visualising the blurred boundaries between waste and sustenance. The piece uses responsive technologies and poetic coding to challenge anthropocentric perspectives and bring viewers closer to oceanic consciousness. SEE~TURTLES embodies my commitment to embedding care ethics and environmental storytelling within interactive design.
5. Sounds of the Sea
This moving image piece combines gestural choreography, sound synthesis, and computer vision to explore watery entanglements through hydrofeminist philosophy. A double exposure of the artist’s hands and the sea is mediated by an AI system: as the hands move, they trigger modulations in white and pink noise, creating a sonic landscape that mimics tidal rhythms. This work treats AI not as an instrument of control but as a collaborator in listening and feeling. Sounds of the Sea invites the viewer into a space of slowness, reflection, and ambiguity, offering a counterpoint to the extractive tendencies often associated with digital technologies.
Video to highlight the moving aspects of these 5 projects relevant to this Residency at the V&A