Exploring the delicacy of drapery on Brutus's bust in the V&A Cast Courts with the hardness of the marble, the project explores the use of fabric as formwork and recasts a reinterpreted drapery inspired by Brutus.

The sculpture draws from the carved ivy that embraces the Apprentice Pillar yet goes beyond mere replication. The resulting sculpture is a meticulous analysis of microscopy and a study of diverse natural elements.

The project explores processes of decay and erosion, focussing in particular on the cast of a resting bear on a plinth at the base of the Portico of Glory.

Revealing the unseen focuses on the fragmentation of a cast by separating its different layers. The separation of the layers allows for what is usually hidden to be revealed, in this instance the relationship of fabric with the body.

The recreation and recasting of the floral tile carvings on the Gate of Heaven in the V&A have been the focus of the project.

Michelangelo shows the figure of David just before he throws a sling, as opposed to just after victory. The project explores the motion of a throw, speculating what would ensue in the seconds after
David’s frozen stance as seen in the Cast Courts.

In this project, two plaster casts of the negative parts of a mid-15th-century candle bar in the V&A museum were developed using a variety of mould-making and casting techniques.

A door handle, designed and cast for a Scandinavian doorway in the Cast courts, embodies a narration of the historical foundation of Scandinavia, centred around themes of conflict, community and culture.

Inspired by the column-bearing lion from Giovanni Pisano's pulpit in Sant'Andrea in Pistoia, the project explores the emotional mechanisms in facial expressions.

This is an investigation into piece mould casting that furthers the understanding of positive and negative space. This relationship is understood through the casting and dissection of the hand.

The project is inspired by Michelangelo’s 'Crouching Boy', sculpted in 1524 and cast in 1884. An unfinished piece originally intended for the Medici Chapel, the final cast is a study of tension and compression in the original cast.

This project investigates the replication process of casting a decorative pulpit fragment using the alginate mould, exploring how it damages and loses details as the casting progresses.

Through observation of the cast of a column head excavated in Nazareth, the project transformed this
artefact through casting. The final cast integrated elements from the original piece with visualization of leading, floating, and ways of seeing.

The broken negative of the cast forms a set of artefacts, unintentional byproducts of the casting process. The broken pieces represent the fragility of the positive mould's artefacting proces.

The project dissects the spiralling motion depicted by the Mercury and Psyche cast in the V&A Museum. Their body parts forming the spiral are translated into a series of casted hand fragments that break down frames of a continuous motion.

The chosen object is a doorway portal of a Norwegian stave church in Urnes. A fragile and translucent cast represents the doorway as a vestige: a trace of an object that is gradually disappearing.

The project focuses on the duality of the Angel cast in the Cast Courts and its two sides which reflect contrasting qualities such as light and dark, original and copy, seen and unseen.

Inspired by the steps of the Pulpit by Giovanni Pisano, and through various material testings, a model of two new steps has developed, focussing on the fluidity and delicacy of fabric paired with the rigid and heavy nature of plaster.

The three plaster casts of Moses made by Michelangelo Buonarroti have inspired the design of an interactive piece which utilises recast fragments of Moses' figure.

The project investigates three casts of Pauline Bonaparte as Venus Victrix, exploring the impact of the material on the appearance of Pauline's hand. Through a process of casting and recasting, the outcome is an upscaled, distorted representation.

A study of the representation of contrast and transition of power, focusing on the V&A cast 'Perseus with the Head of Medusa' by Benvenuto Cellini.

A study of the representation of contrast and transition of power, focusing on the V&A cast 'Perseus with the Head of Medusa' by Benvenuto Cellini.

An exploratory analysis of the internal space inside the cast of the Trojan Column, focusing on the filtration of light and casting of shadows.

This project is based on a cast of 'The Sorrowing Virgin', which depicts the Virgin Mary lamenting. The project focuses on recreating her gesture through the fabric and the final casts show an uncanny indication of her frozen position.

The image represents three plaster casts of a clay model of Acanthus Leaves. It investigates
how much detail is lost through casting negative and positive spaces through drawing.

This project analyses the textures, forms and light of the 'The Three Graces' in the V&A Cast Courts and investigates how the sculpture situates itself in relation to the surrounding casts in the courts.

The 'Apprentice Pillar' has prompted Project 1 to explore the complex relationship between humans and nature. This includes how they interact and where nature survives and flourishes despite human destruction.

The project investigates the cast of a 12th century sanctuary knocker, exploring the textures of the cast. The final piece recreates the knocker using repetitive textures and patterns borrowed from the original cast.

The project focuses on a pulpit by Giovanni Pisano and replicates the decorations from the pulpit, carefully recreating the fragility and decay of the original cast.

The project investigates the nuanced interplay between light and the environment surrounding the artefact, rigorously examining intrinsic characteristics of shadows and lighting to skillfully generate and deduce intricate details from the artwork.

Deconstruction of a snail detail from the lower section of Saint Sebaldus’ Tomb and recasting of textures and patterns.