The 'Unnatural History Museum' is a project whose aims are to reconsider hybridisation in the wake of technological and scientific expansion, most specifically, transgenics. This is carried out in the creation of pieces, often sculptural, using various elements of taxidermy, bronze and larger

fibreglass works. The intentions of these fragmented figures are

three-fold. Firstly, in some of my writings, I have arrived, through

investigation, upon an idea that the act of blending genetic

material, to some degree, is a realising of mythology. In short, by

this I mean that, by commodifying the natural, these creatures

(transgenic animals) are reduced to object and, as with mythical

beasts of legend, subsequently reside closer to fiction than reality.

It is with this that the sculptures of the ‘Unnatural History Museum’

place these ideas of fragmented taxonomy into a sculptural context.

In order to do this, many of the works take their reference point

from particular works or styles from the canon of art history be it,

for example, Classical sculpture, the drawings of Durer or the

paintings Oudry. In doing so, the works intend to imagine a new

history for the scientific age and the new fragmented specie.

Thirdly, the hybrids and the museum often tap into the longstanding

fascination with the macabre and freakish, harking back to 18th

Century wunderkammers and Victorian novelty taxidermy.