Q: Can you remember the moment when art stopped being just a hobby and started to feel like something more meaningful?

A: I was always drawn towards making things. Art has always been a way for me to explore curiosity and express myself, but the turning point came during my architectural studies, when I realised how deeply materials, space, and memory could shape experiences and emotions. It was then, working late in the studio and discovering the transformative tactility of materials, that is when art shifted from a hobby to a meaningful pursuit, a way for me to ask questions, ideate my thoughts, and connect with other people.

Q: What does the beginning of your creative process look like? Do you start with a clear vision, or let your work lead the way?

A: The beginning of my creative process is often intuitive and exploratory rather than fixed. I usually start with a feeling, a fragment of a memory, or a material that intrigues me, sometimes inspired by the tactile qualities of glass or ceramics, or by the way light interacts with a surface. While I might have a loose concept or question in mind, I allow the process of making, testing materials, sketching, and hands-on experimentation to take the lead. This openness lets unexpected ideas emerge, often leading the work in directions I never knew existed. I always call my practice a bit of a patch work, a combination of multiple interactions, learnings and experimentation.

Q: Has there been a learning experience in your career, big or small, that’s deeply influenced the way you create today?

A: One of the most significant learning experiences in my career was during my time at the Royal College of Art, where I was encouraged to experiment fearlessly and embrace failing as part of the creative process. Working with glass taught me that materials have their own limitations and ways of controlling, and that letting go of my own need for control lead to the most amazing projects I ever worked on. This experience fundamentally changed my approach, I now see each project as an open-ended exploration, where process and intuition are just as important as the outcome. There is a weird sense joy in that.

Q: If time and resources weren’t a factor, what epic project would you tackle next and which part of that dream most fires you up?

A: I would love to create immersive, large-scale installations that brings together handblown glass, ceramics, wood, and light to transform an entire architectural space. My thought is to build a space where people can move through shifting landscapes of translucent forms, tactile surfaces, and changing movements, inviting them to reflect on memory, presence, and time. I would love to make avante garde functional work through the amalgamation of materials, learning and collaborating with fellow designers blurring the line between art, craft, and architecture.

Q: What’s one thing you wish every artist knew about choosing a creative line of work? Do you have any advice you'd like to offer to other emerging artists?

A: One thing I wish every artist knew about choosing a creative path is that it’s as much about resilience and openness as it is about creativity. The journey is rarely linear, there will be many doubts and missed opportunities, but honestly each of them bring a better opportunity to learn from. Many of the work that you want to make might be very difficult to create but with time and persistence, it just happens. I would not really have any advice as such to give to anyone as I myself navigate my own practice everyday. The thing that I feel work really well for me is to just remain generous with your time and ideas, experiment as much as you want to, the connections you build and the willingness to share and support others always works the best.