This body of work explored movement - particularly dance - through material means. It is heavily informed by my background in archaeology, which accepts the inevitability of our brief time on earth, while honouring how we spend that time - from the mundane to the monumental. Inspired by Tim Ingold’s research into the relationship between art, archaeology, architecture, and anthropology, this work attempts to record the ways in which we impact, and the ways in which we are impacted by, our lived environments.

Grief and loss sit alongside the vitality of dance. It is the sense of life being fleeting that underpins the desire to record time; it is the sense of physical impermanence that provokes a desire to see impact in material.

In an effort to untangle dance from the judgements and gazes of others, the work does not use video or photographic representations of dance or dancers. Instead, it uses a variety of sculptural media to record dance by abstract means. Rather than focusing on what dance looks like, the work focuses on what dance is: a creative, connecting act.

The work on display in this show included the Last Remaining Dance Floor Used in the Beach Ballroom in Aberdeen from 1955 - 2010 (a bronze cast). Other works include a dance recorded in unfired porcelain clay, a disco ball inscribed with a personal essay, and small porcelain casts made of evident human wear and tear in public spaces.