Working with the reactivity and continuation of material on site, my work inhabits a sense of constant change and exploration. It is a heavily observational and experimental practice that alludes to further questions and investigations of the working relationship between material and myself as a reactive, material collaborator. With an emphasis on questioning authorship and the role of the audience, there are non-abrasive attempts of collaborating with material, without an authoritative control to remove it from its habitual environment. This naturally shapes the work into heavily involved writings as a beguiled observer that continuously translate into means of learned development. The use of mimicry enhances this dialogue of observation and exchange. Language, care, translation, exchange, interpretation and embodiment are key materials used within my practice.

Plyga'in Gliniau i Grwydro'r Môr
Plyga'in Gliniau i Grwydro'r Môr [fold our knees to roam the sea]

The most recent explorations within my practice have been focused on the evolved processes of the Rhizophora mangle tree - a tree that has adapted to live within and outwith seawater, through adapting salt-filters, encompassed by wart-like pores across its arching roots. The engagement between these processes and myself have included mimicking the shapes of the roots by arching and contorting my body whilst burying my hands and feet into sand, holding the weight of the body, awaiting the tide – interpreting the shapes of the pores in sand and allowing them to pool and break in the tide – writing these observational and embodied explorations as poetical expressions of care. These engagements have informed a continued body of work that has been translated formally into instructional cues and manual forms for audiences to collaborate with, as well as film and sound work that can be intimately listened to and viewed.


An accumulation of this work has resulted in the proposed performance; ‘Plyga’in Gliniau i Grwydro’r Môr’, a 4-element performance, influenced by mimicked embodiment, language, ritual, care and interpretation of the Rhizophora mangle tree and the embodying translations.


The 4-element performance includes:

1. Ffilm Fer [short film] - Two consummations of unfolding, personified performances. The outward images referencing the interpreted characteristics of the tree - circulation of the filtered seawater through the trunk and out of the leaves, translated into shaping and arching the body underwater, swilling seawater in the mouth, pouring it into the hands, washing it through the hair, and brushing the fingers through the hair to collect naturally separated strands - with reference to the yellowing salt leaves of the tree. The inward imagery focused on a gradual uprising of arched roots. Both interpretations mimicked in the narrative. The narrative encompassing the processes through personal embodiment.

2. Adroddiad [recital] - Using the narrative to layer and loop each written piece on top of another, building harmony. This was done by writing the initial piece for 'Plyga'in Gliniau i Grwydro'r Môr', and counting the syllables of each line. The following 3 pieces of writing then followed the same syllable patterns as the first, allowing each written piece to be sung and synched together in the recital.

3. Sgwrs [conversation] - With reference to the works 'MÔRADRODD' and 'Sea Offerings', the conversation expands upon the idea of communication with the sea, and the overall vastness and beguilement with the sea, that has evolved into an integral part of the Rhizophora mangle's survival. The 4-minute audio of the conversation having been pulled from the 'Sea Offerings' film is illustrated in a mimicked conversation between 2 people, but could be applied to a larger amount of collaborative people.

4. Llawlyfr [handbook] - The performance score handbook acts as a vague informant for anyone to learn and/or interpret the performance counterparts and perform them themselves. The handbook is editable, downloadable and/or printable - formatted for A4 paper


(Please see the link under the bio to access the website and collaborative handbook for: ‘Plyga’in Gliniau i Grwydro’r Môr’)

Adroddiad [Plyga'in Gliniau i Grwydro'r Môr]
Narrative for Plyga'in Gliniau i Grwydro'r Môr 1 expand
Narrative for Plyga'in Gliniau i Grwydro'r Môr 2 expand
Narrative for Plyga'in Gliniau i Grwydro'r Môr 3 expand
Narrative for Plyga'in Gliniau i Grwydro'r Môr 4 expand
Sgwrs [Plyga'in Gliniau i Grwydro'r Môr]
Plyga'in Gliniau i Grwydro'r Môr [Yr Elfennau Sain]
Yr Elfennau Sain [the sound elements]

The combined sound elements for 'Plyga'in Gliniau i Grwydro'r Môr' > an idea of what a performance with all overlapping sound elements could sound like. 

M I M I C R Y ,  M A N U A L S  &  C O L L A B O R A T I O N 
Reading Cards (Deconstructed Manual) expand
Sea Offerings
Sea Offerings // MÔRADRODD

'MÔRADRODD' [sea-recital] writings > notated > generated score > transcribed onto hydrophobic paper > cut bar by bar > placed into the sea

MÔRADRODD // [Sea Recital]
Returning the Desalinated Seawater
Desalination & Futility

Collecting a small sample of seawater >

process of desalination - separating the salt from the water >

returning the purified water back to the sea >

an offering to the process

[Salt Leaf] Offering
Cân Werin Ddolen (Looping Folk Song)
Cân Werin Ddolen
C O L L A B O R A T I O N // with Holly Nicholls
Deconstructed Score: Call & Response // Holly Nicholls & Cerys Lloyd
Stave Stones // Holly Nicholls & Cerys Lloyd
Reflection // Deconstructed Score: Call & Response

A collaborative reflection considering the 163 displaced materials. This propositional piece aims to speak to each individual material with gratitude and thanks, through writing directly and speaking thanks to each material in the disturbed environment of the beach. The sound piece includes 6 writings of thanks to 6 materials - this will be replicated for all 163 materials.