The visual interpretation of space production, from everyday spatial practice to contested spatiality, has been a consistent pursuit of my practice. Over the last five years, the focus has been the artist’s house-studio-gallery, a space defined by its triple purpose of living, creating and curating.
Since 2015, I have occupied four different live/work self-contained units, all interim spaces located in South/ East areas of London. Transformed them into temporary house-studio-galleries and my photographic practice became an enquiry focused on its intimate spaces and outdoors context, an expanded container for domestic life, artistic production and exhibition-making.
These interim spaces, being first and foremost archaeological sites of the contemporary past, provide opportunities to explore a variety of methodologies for photographic practice, including psychogeography and auto-thnography. How to represent the psychic experience of architecture and urban space? Trace the buildings’ past histories, personal and social narratives contained within their walls, memories of industrial labour, materials and services? Document my presence and involvement in the transition into cultural economies?
My research project into photobook publishing has developed in parallel, each bookwork mirroring this probing into the psychic nature of architecture and the poetics of lived space, both interiors and urbanscape. The reading experience is, in each case, an interplay between the architecture of the building and the visual structure of the book.

msdm house-studio-gallery: Whitechapel (2017) | Electric House (2018) | Artillery Place (2019)

(…) like the artists’ studios analysed by Jenny Sjöholm (11) my studio can be seen as an experimental archive in itself, with all types of collected objects being taken out and incorporated into installations set-ups, silkscreen prints, photozines and other practices that translate the contents of the storage boxes into new patterns that further loose its connection to its original site of production. Thus, not surprisingly, it is frequently impossible to identify the provenance of the photographs on display in any of my installations.

Extract from: 
paula roush: Chaos of memories- Surviving archives and the ruins of history according to the found photo foundation [text  here]
In Order and Collapse: The Lives of Archives
Editors: Gunilla Knape, Niclas Östlind, Louise Wolthers, Tyrone Martinsson,
Art & Theory Stockholm  2016

 11 Jenny Sjöholm, “The Art Studio As Archive: Tracing The Geography of Artistic Potentiality, Progress and Production,” Cultural Geographies 21(3, 2014), 505– 514