si sapsford
Work
%20Dressing%20table.jpg)
Drawing has remained a constant throughout my practice, providing a space for sustained observation and reflection. Working primarily with Bic biro on a large scale, and occasionally with wax crayon, these works emerge through the slow accumulation of countless marks. The process is deliberately patient and repetitive, allowing images to develop gradually over time.
Many of the drawings focus on the human figure and portrait, exploring presence, vulnerability and the complexities of lived experience. Their scale invites a close encounter, revealing both the intimacy of individual marks and the physicality of the finished work. Like my kinetic sculptures, the drawings are less concerned with providing answers than with creating space for contemplation, encouraging the viewer to look carefully and discover meaning through sustained attention.
Kinetic installation lies at the heart of my practice. Through movement, tension and repetition, familiar domestic objects become unstable systems that explore responsibility, conflict, memory and the fragile balance between collapse and recovery.
Chairs rock and collide, elastic stretches and returns, structures shift between equilibrium and failure. Rather than illustrating political events directly, these works use movement itself as a metaphor for social and personal systems under pressure, inviting viewers to consider their own relationship to intervention, responsibility and change.
Although each installation responds to a particular place and moment, recurring concerns connect the work: migration, inequality, environmental precarity, historical memory and the tension between private experience and public events.
Film forms an important part of my practice, documenting, extending and sometimes becoming artworks in their own right. Working across moving image, installation and projection, I explore ideas of time, memory, movement and place through film. Whether recording the quiet choreography of kinetic sculpture or creating independent moving-image works, these films invite a slower way of looking, offering another perspective on the questions that connect my wider practice.
Painting provides another way of exploring the themes that run throughout my practice. Moving between observation and imagination, these works consider the relationships between people, objects and place, often occupying a space between the familiar and the unsettling. Rather than illustrating fixed narratives, the paintings invite open-ended interpretation, encouraging viewers to bring their own experiences to the work. Alongside sculpture and drawing, they form part of an ongoing enquiry into memory, identity and the ways in which we make sense of the world around us.
Sculpture lies at the heart of my practice. Working across glass, ceramics, bronze, found objects and contemporary fabrication processes, I create works that explore memory, identity, place and the traces of human experience. Materials are chosen not simply for their physical qualities but for the histories and associations they carry, allowing familiar forms to become vessels for reflection. Whether intimate objects or larger sculptural works, each piece forms part of an ongoing enquiry into the relationships between people, objects and the worlds they inhabit.
Film forms an important part of my practice, documenting, extending and sometimes becoming artworks in their own right. Working across moving image, installation and projection, I explore ideas of time, memory, movement and place through film. Whether recording the quiet choreography of kinetic sculpture or creating independent moving-image works, these films invite a slower way of looking, offering another perspective on the questions that connect my wider practice.
