This bursary will support the research and creative development of my next major project, which is likely to be a collaboration over three years with Marine Ecosystems Modeller Dr. Jennifer Freer from the British Antarctic Survey (scientific funding pending). Her research focuses on the impact of extreme weather events on albatross populations in Antarctica. From the outset, the project embeds a parallel creative process, allowing the artwork to evolve alongside the scientific research.
Our collaboration is founded on the belief that science does not end with data and publication. When paired with creative storytelling, scientific findings resonate more deeply with the public—fostering emotional understanding and inspiring meaningful action. By integrating the arts from the beginning, this project aims to be a leading example of interdisciplinary research that bridges knowledge and empathy.
The creative work will be a living, evolving process shaped through ongoing dialogue with Jennifer and other stakeholders, ensuring it remains relevant, research-informed, and fully integrated—not a static illustration. The outcome will develop from an initial concept of a dynamic, immersive experience combining puppetry, movement, and sculpture. Puppetry will be a key element, allowing expressive storytelling and interactive engagement. The work will also respond to environmental factors such as weather, inviting direct public interaction. By developing skills in puppetry and large-scale making, I aim to create an innovative art-science practice that captivates diverse audiences and raises awareness of urgent ecological challenges.
The bursary will also support further training in creative practices, travel to work with experts and gather stories, and the development of participatory workshops. It will enable me to continue building my multidisciplinary practice following a two-year project responding to a mass whale stranding, which involved puppetry and wooden moulds of life-size whales used by the public to cast sand sculptures.
Originally focused on landscape painting, I now seek to identify the artistic medium that best connects emotionally while inviting public participation. This bursary is crucial to exploring and developing these flexible and responses approaches, ensuring the work resonates conceptually and emotionally.
Although this new work is rooted in Antarctica—a region often absent from mainstream climate narratives—it is precisely its remoteness that makes the work globally relevant, including to communities in Darlington. The Antarctic is experiencing record-breaking extreme events with potentially devastating impacts on ecosystems, yet it is one of the least represented areas in public climate discourse. By translating scientific research into powerful, creative storytelling, this project offers a unique way to connect people in Darlington with an urgent, overlooked part of our planet.
A key aim of the project is to create a travelling installation that can be shared at multiple places, including Darlington, alongside participatory workshops with schools and the wider public. This will open up vital conversations around climate, conservation, and interconnectedness—fostering curiosity and emotional connection to distant ecosystems through art.
By presenting this as a leading example of interdisciplinary collaboration between science and the arts, the project will raise the profile of creative, research-driven practice within Darlington’s cultural landscape. It brings global relevance to local audiences, encouraging engagement with the arts to explore complex challenges, and positioning Darlington as a place where ambitious, environmentally engaged creative work is shared and supported.
I am a visual artist now relocating permanently to the Isle of Harris after years of living between there and London. My work explores the intersection of nature, culture, and science. I began my career as a landscape painter—still represented by several UK galleries, with multiple solo shows and work exhibited and sold across the country. In recent years, my practice has evolved into a more research-led, collaborative, and multidisciplinary approach. This shift has been years in the making, and I’m excited to see my work continue to grow in this direction. I believe art can foster emotional connections to the natural world and act as a powerful tool for public engagement and environmental awareness. I often collaborate with scientists, conservationists, and communities to create immersive, participatory projects that translate complex ecological issues into accessible, emotive experiences. My work integrates scientific data and field research with sculpture, sound, performance, and storytelling. I come from a background in events, having worked on large-scale public programmes at institutions such as the Natural History Museum, Kew Gardens, and the Royal Horticultural Society. This experience has informed my ability to successfully plan and deliver ambitious, interactive artworks. I co-founded the Wilderness Art Collective in 2018 to foster collaboration among artists working with environmental themes. I am a member of the PLACE collective and also an ambassador for the Wilderness Foundation UK. My recent project, Keening – Song of the Stranding, developed in collaboration with the Scottish Marine Animal Stranding Scheme and the Natural History Museum, responded to a mass whale stranding in the Outer Hebrides. Combining sculpture, movement, and music, it explored grief, ecology, and memory. It marked a turning point in how I use materials and participation to deepen public connection to ecological issues. I’m currently delivering puppetry workshops, gathering oral histories, and preparing a collective day of remembrance on Traigh Mhòr beach. Participants will create whale sand sculptures, accompanied by live music shaped by whale vocalisations. As the tide returns, the sculptures will be reclaimed by the sea. This Creative Scotland-funded project involves five artists and multiple scientific partners.
Do you have a degree in visual or applied arts at undergraduate and/or post-graduate level? Please provide details. (200 words)
I do not have a degree specifically in visual or applied arts, but I have a BA in Film Studies from Southampton Institute. When I chose this path, my goal was in cinematography and the making of wildlife documentaries, combining storytelling with my passion for the natural world. While my focus has since expanded beyond film, my love for the medium and nature remains strong.
My background in Film Studies has greatly enriched my artistic practice. The skills I developed—such as narrative construction, visual composition, and editing—have strengthened my ability to tell compelling stories about the environment and ecological issues. This foundation allows me to approach my multidisciplinary work with a unique perspective, blending cinematic techniques with sculpture, performance, and participatory art.
As I evolve my practice, I see my film training as an invaluable asset. It enhances my storytelling capacity, helping me engage audiences emotionally and intellectually. This creative storytelling approach, combined with my growing expertise in other art forms, enables me to communicate complex environmental topics in accessible and immersive ways. My degree in Film Studies continues to inform and inspire my work as I move forward.
I do not have a degree specifically in visual or applied arts, but I have a BA in Film Studies from Southampton Institute. When I chose this path, my goal was in cinematography and the making of wildlife documentaries, combining storytelling with my passion for the natural world. While my focus has since expanded beyond film, my love for the medium and nature remains strong.
My background in Film Studies has greatly enriched my artistic practice. The skills I developed—such as narrative construction, visual composition, and editing—have strengthened my ability to tell compelling stories about the environment and ecological issues. This foundation allows me to approach my multidisciplinary work with a unique perspective, blending cinematic techniques with sculpture, performance, and participatory art.
As I evolve my practice, I see my film training as an invaluable asset. It enhances my storytelling capacity, helping me engage audiences emotionally and intellectually. This creative storytelling approach, combined with my growing expertise in other art forms, enables me to communicate complex environmental topics in accessible and immersive ways. My degree in Film Studies continues to inform and inspire my work as I move forward.
Yes, I am currently funded by a Creative-Scotland grant for my work Keening-Song of the Stranding
In 2018, I co-founded the Wilderness Art Collective — a non-profit, volunteer-run organisation formed out of a desire to connect with other like-minded artists working at the intersection of art and the natural world. At the time, I was working largely in isolation and believed there was strength in bringing together creatives who often work solo.
The Collective brings together artists, explorers, and environmentalists whose work engages with themes of nature, wilderness, and ecological awareness. Our goals are to highlight the plight of wild landscapes and species, create space for critical discussion around our relationship with the environment, and promote re-engagement with the natural world through creative practice.
Since its founding, the Collective has grown significantly and held several successful exhibitions, including two major group shows — Landlines and Waterlines — at the Royal Geographical Society in London. Both exhibitions raised over £10,000 for the Wilderness Foundation UK. Through these events and ongoing collaborations, the Wilderness Art Collective continues to build a community of artists committed to environmental advocacy and creative exploration.
Yes, my work has been featured across a range of print, broadcast, and online platforms. My landscape paintings have appeared in several publications focused on art, adventure, and the outdoors, including a televised interview on London Live, print features in Hedge magazine, and online articles with Ellis Brigham, Findra, Inspiring Cities, Inspiring Walls, and Summit Magazine. These features often explore the connection between my painting practice and my passion for mountains and remote landscapes.
My current interdisciplinary project Keening – Song of the Stranding is also beginning to attract press attention. As the project develops towards its culminating public event, we anticipate further coverage and dedicated features in both national and arts-specific media. This project’s collaborative, environmental focus and public engagement elements make it of particular interest to a wide range of platforms exploring art, ecology, and community-led practice. I am aware of few local media outlets who plan to run stories.
I regularly share updates, behind-the-scenes insights, and process documentation through my website and social media, which has helped build a growing audience and media interest. As my practice continues to evolve across disciplines, I look forward to broader coverage within contemporary arts publications and platforms.
Yes, my paintings are represented at the following galleries, Art Pistol, Glasgow; Will’s Art Warehouse (London); Caiger Art (Surrey) and Eduardo Alessandro Studios, Dundee.
No – I have undertaken residency but they are small or led by art collectives I run or are part of off.
Address: Morden Lodge Cottage, Morden Hall Road, Morden, London, SM4 5JD, GB
Local Authority: London Borough of Merton (OR Comhairle Nan Eilean Siar for Isle of Harris – see section on my practice)
