‘Se(e/a) and be seen/scene’ (2025). Walking cane, umbrella cane and sugar cane.

The Adelaide Salon in conjuction with curators and producers Ben Coleman and Bill Redsaw presents:

Wedding Crashers showcasing the work of a group of contemporary artists within an ornately decorated Georgian regency home - a space reminiscent oddly of a wedding cake's elaborated frosting the settling of The Adelaide Salon. The artist will present their work amongst covered monuments composed from the furniture inhabiting the space. 

I’m interested in walking as a pedagogic practice, as a teaching method - a way of learning that’s lived, creative, imaginative, personal, emancipatory, embodied and rooted in context. Walking as an analogy of Brighton’s Regency past. In the Regency era, walking wasn’t just about getting from one place to another; it was a leisure activity for the wealthy, promenading, slowly and stately moving along the sea front, socialising and displaying their wealth and importance. Wandering on Brighton’s shoreline was a very popular Regency past time, not as a way of getting anywhere, but as a way of being somewhere, it was essentially circular, seeing and being seen. I used objects and sound to challenge and raise questions, to reflect and walk through time and space, to wonder, to consider other narratives, to imagine other stories, of exploitation, money, power, colonial wealth, control and highlight those not seen or given voice. The sculptures appear as everyday objects but can equally be seen as museum pieces displayed and carefully curated for the viewer like much of the past and present.