Mish Mash was a playful and experimental installation that explored the relationship between objects of play and ideas of monumentality. Installed at Govan Project Space, the work used tactile, often ambiguous forms to reframe the familiar aesthetics of toys, games, and handcrafted oddities—scaling them into unfamiliar dimensions.

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The core investigation centred on scale as narrative device, particularly the use of height as a means of imbuing everyday or whimsical objects with a sense of monument-like presence. By elevating forms that usually exist close to the ground—associated with childhood, domesticity, or softness—I aimed to test how physical elevation could transform the psychological weight of an object, challenging its perceived value or authority.

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The exhibition played with the tension between the intimate and the imposing, exploring how height, verticality, and awkward spatial arrangements could create a sense of reverence, absurdity, or unease. Inspired in part by the scale and semiotics of public monuments, Mish Mash questioned what kinds of objects—or ideas—deserve to be monumentalised. Can a toy become a relic? Can nonsense carry significance simply through stature?

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Visually, the work drew from a collage of references: folk art, surrealism, playground structures, and speculative design. The palette and forms remained loose and idiosyncratic, reflecting a desire to stay open to intuitive making. This show became a space for me to test sculptural ideas without expectation—a key stepping stone toward understanding how playful materiality and physical scale could serve larger symbolic or narrative intentions in my practice.