April Key Studio

At the studio, a seemingly quiet autumn from the outside 🍂
The last 3 months brought a sudden flurry of changes. Simultaneously moving studios, house, losing a close comrade 🙏, and working on a sizable commission, to name a few. Whilst I kept feeling each change or development was wearing me thinner, it’s nice to be reminded that with every end is a new beginning, as cliché as that sounds. Certainly feels like I’m just at the start of something big, rather than the end 🫡🫀🐣🍀

A couple of weeks ago, while walking along the main drag in Holmfirth, I came across a tiny empty shop that used to be a cobbler’s. This small space sparked a big idea: to turn it into a year-long, evolving exhibition of contemporary neon sculpture.

Over the next month, the unit will undergo a transformation, kicking off a 12-month programme of changing displays. Each month I’ll rework the space with new neon sculptures and installations, including experimental pieces and works inspired by the landscape and community of Holmfirth.

Taking on this project is both a personal challenge and a community connecting endeavour. It’s a way to increase my regular output and make my work more publicly visible. As a sculptor working with light, I often have limited control over how my pieces are displayed. This space gives me the freedom to shape each presentation to show the full effect of the materials and ideas behind the work.

Creativity runs deep through Holmfirth’s history. I hope this project becomes part of that ongoing story, connecting contemporary sculpture with the town’s enduring spirit of craftsmanship.

I mean, where do I start! @atelierlajuntana is based in the remarkable and protected Costa Quebrada UNESCO Global Geopark, part of the truly unique coastal landscape of Cantabria 🇪🇸 The atelier is run by renowned Spanish artist Daniel Gutiérrez Adán together with his sons, Ármor and Nertos—both accomplished architects and professors. They not only research and develop new fabrication materials but also champion traditional craft and studio practices passed down from their father. This course brought together people from across disciplines—architects, artists, tech-based specialists, and more—united by the physical act of making. Over an intensive week, we explored a wide range of techniques including clay, plaster and silicone mould-making, slipcasting and ceramics, lost wax and bronze casting, wood carving, traditional printmaking, photo etching, and cyanotype (and probably a few more I’ve forgotten to mention!). The atelier is also their family home, filled with soul and care. I’m deeply grateful to them for opening its doors in the name of creativity, and for encouraging all of us to return home with the confidence to keep making. In the coming days I’ll share more from this week—the processes, outcomes, and time spent with fellow participants in this extraordinary place. But for now, a heartfelt thank you to the @atelierlajuntana team for your generosity and inspiration.

Details 💐

Here and there

‘Floral Gestures’ (2025)
Wood & hand-bent glass neon

Although spring has passed and summer is now in full bloom, floral motifs have remained in my mind. With the resurgence of botanical themes across contemporary art this year, evident in exhibitions at institutions like Saatchi Gallery and , I found myself considering how the essence of florals could be interpreted sculpturally.

Rather than opting for literal representations, I was drawn to abstraction, allowing form to suggest rather than state, inviting viewers to engage with an alternative narrative that may not reflect a universal reality.

This piece marks a departure from my usual approach to freestanding work. Typically, I aim for equilibrium between materials, ensuring the neon doesn’t dominate but instead harmonises with the sculptural base. However in this case, I allowed the glass to lead, embracing a more expressive, intuitive process where the material dictated the outcome.

Huge thanks to + for fantastic facility access and mentorship 🙏🤍🤝

‘Moving Picture’ - concepts from previous years.
As I prep to publish some new works soon, I’ve been revisiting some ideas that never made it into reality (yet!).

This series plays with the tension between stillness and movement — using fixed glass neon and programmed LED light to explore how light behaves like memory: static and shifting at once. Inspired by personal visual snapshots and the way we frame passing landscapes with the eye.

‘Self portrait’ renewal
2025 —> 2019
UK —> TR

Felt it fitting choosing a 🔵 hue for my ‘back in Britain’ chapter. I was thinking of all the things that have changed since I took the first picture, but decided to focus on the aspects that have remained the same 🤍 living to make light, trusting intuition, importance of making people smile, keeping humor, and the value of simplicity and originality.

Thank you 📸

One of my favorite projects with artist .isakov 🙏 🫠
Carved plasterwork with neon glass inserts
‘The Transparent Curtain’ 2023

Thank you to for including me in their new publication which launched this International Women’s Day 2025.

“Collected Light: Volume Two is the second in a series of books from Light Collective. The Women In Lighting project led us to the curation of its first book, Collected Light: Volume One which was launched in November 2022 and featured 44 women working as artists using the medium of light.

After participating in many conferences, exhibitions and light festivals around the world, it became apparent to us that there is an onus on, and much greater visibility of, male artists who work, or have worked, with light within their bodies of work. The book was a small step towards trying to redress this imbalance and bring their work to a wider audience.

After the first book, we started to discover more women working with light and approached them about being featured in specialist posts on Instagram. Some women, who had come across the book, approached us and others connected on social media because our content resonated with them. It became apparent we had more than enough content for a second book so we started again, asking another group of women to participate by sharing images of their work, so a new book could be created. We would like to thank all of the contributors for their time and generosity and hope that fans of the first book like and appreciate this one too.”

Both Volume One and Volume Two are supported by

Athens 🍇