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If Nimshlep was a sculptural form, I'd describe it as a reading nook a person would not want to interact with.

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media: plaster, wood, mod rock, tissue paper, nails and staples, latex and nail polish

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the original structure in the final 'Define Safety' sculpture

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This project toyed with my prior exploration of sculpture like the above. I was making many rigid structures which were not fluid enough for my creativity to flow. I broke this original safe space and it reflects my own experience of safe spaces at the time.

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I kept the motif of an interactive space, and moved on to exploring what a safe space meant to me.

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I enjoyed the way this structure was mutable in independence and the way it associated with the rigidness of wood and have kept it as my sculptures evolved.

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Media: repurposed wood, spray paint, mod rock, foam fabric. If I was to remake this, I would take more consideration in how I would exhibit it.

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This sculpture marks the beginning of exploring my final piece

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The vulnerability of the chicken wire was interesting and it made me want to play with it further for my final project.

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It was fun to utilise my studio space and make it interactive.

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At this point of my development, I decided all my art was to be interactive and so I collected fabrics and textures that complimented the form, concept and motifs of my final piece.

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media: chicken wire, mod rock, scrap fabrics, scrap metal, scrap foams

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Using scrap fabric I dyed to make a type of mobile to play with as you sit beneath the sculpture- a comforting concept

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The problem was that the sculpture itself was not interacted with, but it was interesting to see that the priority of other people's safe spaces involves being held up by safety and comfort, while mine involves safety above me.

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Using a bean bag as the seat beneath the sculpture meant other people interacted with my sculpture- even as I wasn't there.