Litany is a room-scale installation: resin and stainless-steel sea-creatures — the Aquatic Insurrection — suspended above a felted, hand-woven and eco-dyed ‘seabed’ built entirely from repurposed post-consumer materials.

It is an ironic comment on genetic adaptation under plastic pollution. Marine pollution can drive genomic drift — phenotypic mutations in subcellular systems — reducing biodiversity and threatening extinction. Here the artist’s hand performs that mutation, interbreeding organic, industrially-processed fibres (linen, cotton, wool, silk) with artificial PET plastics.

The creatures, armed with implements used as weapons in human conflict, have evolved out of the toxic sludge to defend their waning territory — both tragic and amusing. The work is also a comment on hydropolitics: the precarious future of water, in which aquatic life cannot fight back, but succumbs.