My most recent body of work seeks to experiment with material and process whilst considering objects viewed as cultural signifiers. My sustained engagement with these experiments births new versions of existing objects and subverts the ways in which we perceive and imagine them. I am also interested in the circulation of objects, their material histories and how they are situated in a contemporary context. Through this body of work, I further explore ideas around authenticity and value - through the idea of ersatz - as substitution or synthetic. Rethinking these familiar visuals borrowed from domestic objects - I push them into different realms; transmuting through material that imitates, shapeshifts and warps. This series thinks about installation as a strategy but also as an important way to explore the tensions that come with using materials to explore the politics of objects. The fragile and ephemeral nature of the tracing paper is obvious as it quickly warps under the weight of the ink; it’s crisp architectural quality quickly changes to brittle and stained. The process of creating these hyper-saturated surfaces is reminiscent of dying processes; a distressed surface that births a new object.  The language of painting is used to think about the weave as something that unravels and restores. The motifs and materials draw connections between mapping, architecture and textile practices. The work borrows from a colour palate that relates to topographical demarcations, lush landscapes and bodies of water Incorporating forms that are controlled and repetitive and eventually errased, diffused and distorted.