In examining how we classify and organise the natural world, I consider how this affects our understanding of our environment. I present ideas of a precarious nature, one that cannot easily be classified accurately or with any certainty. Within my drawings I adopt the conventions of scientific illustration, adapting them to present my fictional creatures and specimens, omitting scientific accuracy in favour of ambiguity; how do we classify these specimens? Are they animal, plant, mineral? My methods of drawing vary between technical, detailed pen drawings of my fictional specimens to a more loose, ‘sketchbook’ quality by using mark making as a way to suggest detail without drawing with such precision. Sculpture is also a way for me to question our preconceived ideas of classification, by creating objects with no indication of what they represent, what they could be or why they were made. With a rough, animated quality to them, the sculptures retain their handmade qualities, my fingerprints still evident in their surface; I use them as a method to consider how we classify an artwork as being ‘perfect’. Often melding drawing and sculpture together, I also look at how we classify artwork and how the work I create can often fall between what we regard to be ‘drawing’ or ‘sculpture’.