Fractured sets or props are activated: the inhuman and the human intertwined in a bizarre and comic realisation. Sculptures originate from flat planes and surfaces - collage, photography and mathematical nets: later expanding and volumising into larger surreal objects and environments. An interest in the way we experience three-dimensional forms in an age in which our perception is invariably mediated by still and moving images on screens runs through the work. Images are lifted and re-contextualised back into uncanny flat objects from the screen, creating surreal, kinetic collages. This theatricality of flatness allows the spectator to feel like they are walking into an animation: a cartoon world from which much inspiration is drawn as bodies and matter become flexible and unstable with an undertone of violent, slapstick humour.