My work in figurative sculpture, born out of an interest in human form and portraiture, grew into characters drawn from life classes and imagination. Like the people I admire, they exude strength, physical and otherwise, without losing their capacity to suffer. My studies in human behaviour and anatomy, alongside the freer forms of the organic world, have allowed me to explore the parameters of fluidity and solidity in figurative sculpture, producing works that express narratives in movement, whether whimsical of challenging. Most recently, in light of both my family background and the crisis of refugees across the Middle East and North Africa, my work has focused on the stories of displaced people. These are not necessarily only refugees, but people who lack permanence or a sense of belonging. The sculptures themselves are white, and their figures are – as we are in danger of seeing them – ghostly and transient, anonymised and ready to be coloured by their unfolding experiences.

My series of Men at Work are likewise carrying certain weights on their backs, their own kinesis often connected to an object with which they interact. Like socialist realist characters, they hold immense strength, but unlike these counterparts, theirs is playful and often contrasts with the severe tone of the stark posters they recall.