Surface to Air data-maps of the first year of the illegal invasion of Ukraine by russia; the way conflict sits between the ground and the sky.

Surface topographies are mapped within the folds of fabric sheets, plotting the changing borders and conflict sites as they fall. While the textiles work as graphic data maps, the drawings also show a more personal the feeling of standing on fragile ground, how easily it can be moved and pulled from underneath.

These works, as well as the sewing pin medium, draw a strong reference point to the history and visual language of mapping conflict through textiles.

In contrast, the Air works show wild, gestural sonic notations – mapping the way in which war hangs above a city. Using sonic data, these drawings plot the reverberations, echoes and ringing of car bombs, missiles, and street protests.

Like the fallen textiles, the sonic scores are first made quickly, almost as if by chance. Serving as a meditation on anger, these split-second reactions are then replicated laboriously and painfully, pin-hole by pin-hole; down to the slightest fabric ripples, flicks and breaks of charcoal.

While a nod to the Surface To Air missiles used in the invasion, the title also hints at a private physiological experience of war: tying this together is a work charting a single heartbeat, accompanied by a glitchy, quiet pulse constantly playing in the exhibition space.