"I began to Experience a pervasive feeling that I was an intruder: the movement of my shadow on polished wood, my distorted reflection in the top of a tarnished serving dish, catching a view of myself in the corner of a tilting mirror, led me to be increasingly puzzled and dispirited with my surroundings, at the air of desuetude and inclusivity, that odour of countless mothballs and dust so that my glance back at the door had some appeal in it"

This description of a room given by Niall Duthie in his novel 'Lobster Moth'(1999) evokes the atmosphere of the 'Moth Room' installation.

 The main material used in this work is the waste fluff collected from tumble dryers and light bulbs remade into over 100 moths. It was presented as a dimly lit storeroom with shelving, boxes, jars and a strong smell of moth balls. The work aimed to investigate the relationship we as a society have with moths both real and imagined. I focused on clothes moths because of their parasitic invasion of our domestic space. Most damage is done to clothes stored undisturbed for a long time, in cupboards, attics and other storage areas

'Growing things' Vitreous luminariums 2008
The main object in this work is the domestic light bulb, it's form transfigured into something more unusual; their shape copied in porcelain and then assembled or situated to appear as if trying to cultivate them like plants. The traditional incandescent light bulb has not changed for over a hundred years since Edison and Swann. However due to their relative inefficiency compared to newer more energy efficient lighting sources they will soon be an obsolete technology. Our understanding of our surroundings is organised in terms of our perception of how useful it might be to us. We tend only to briefly recognise domestic light bulbs as objects in their own right when they cease to perform the task they were made for and thus they are hastily removed and destroyed, even referring to them as 'dead'. Not only is there a clear physical resemblance between the botanical structure they also share the same vernacular. The work exploits this closeness both physically and conceptually by subverting both the man-made household object and the natural form. The crux of this work is human invention and the ambiguous character of language. there are many layers of artifice starting with the title alluding to scientific fakery. the work references artificial light, which in turn imitating the natural shape. I have then replicated these forms in porcelain and in addition reproduced a greenhouse; it's function is to simulate the ideal 'natural' conditions for the bulbs within.