Philosophical Statement:

Inti: The Incan Sun God, his face portrayed as a gold disk from which rays and flames extended. Inti is the Sun and controls all that implies: warmth, light and sunshine. During the festival of Inti Ramyi, held during the Summer Solstice, Inti is celebrated with much drinking, singing and dancing – special statues are made of wood are burned at the end of the festival. This sculpture is an extended physical manifestation of this; decadent ritualism and a spiritual experience.

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Inti incorporates 288 petals are self-assembled into 12 concentric rings, with each petal representing the hours of the day and each ring every month of the year. These are held together using mirror polished circular brackets, designed to catch the light and reflect circles of sunlight around the structure interior. Inti’s focus is the sunrise; as the sun rises on the playa, Inti is designed to catch the light at this precise moment and funnel through the piece, enveloping and bathing the burners inside with it’s warmth and spirit.

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kalos, “beautiful, beauty”
eidos, “that which is seen: form, shape”
skopeō, ”to look to, to examine”

hence, “observer of beautiful forms“

CatchLight is designed to capture photons and hold them for an instant, contained in an ephemeral prism of mirrors. They bounce and fragment towards infinity, picking up the colours and shapes of the occupants on its journey before finding a pathway to escape through the viewer’s eyes, or one of the holes through which it entered.

An ever changing explosion of reality is generated through motion, through the changes in the light, and the flow of visitors into the space. An infinite world beyond the surface is made visible, an unknown dimension that light reveals. The result is a mesmerizing echo chamber of light.


CatchLight is an expansive space for the mind, igniting the imagination. Inspiring creation, rousing enthusiasm; it uses light to create constant shifting frames of reference that straddle the realms of science, psychology and architecture. The physical components of these works (light, earth, timber, metal and plastic) share a central function: fostering a mutual engagement between viewer and environment; each second different from the last.

The aim is to create a dialogue between the participant and the infinite. The reflection of self can go unnoticed in its original context. But by implicating the viewer in the creation of a glimpse into a hidden dimension, I attempt to engage them in a way that is both physically involving and captivating.