I’ve been obsessed with vulnerability, boundaries and decay. I have always wallowed in and about wounds. Recently, I have decided to decentre my personal trauma within my work, deciding to mull over collective cravings instead, using our hunger to hone in and locate our needs that we are denied under a brutal patriarchal, ableist and racist capitalist system. How and when do we truly experience guilt-free rest, pleasure, love under this system? A system that considers our needs a privilege?


Since last year, I dreamt of embodying a persona within my practice that was ‘part of this world and not’, someone ‘otherworldly, leaking and bleeding, taking up space…making a mess and not cleaning it up’. This body was ‘weighed down’, and so they waded through this world. I drew and still draw upon Hedva’s Sick Woman Theory, Kristeva’s theory of the Abject, Creed’s Monstrous Feminine, the films Alien (1979) and Possession (1981), and Greek philosophers’ theories on gender differences. This figure I had envisioned mutated when I saw Monster Chetwynd’s 2018-19 Tate Commission and Abi Palmer’s Slime Mother exhibition, and read Palmer’s Slugs: A Manifesto, transforming and being actualised as Frank in Feeling/Thinking/Being Sluggish.

Slugs have also heavily influenced my practice theoretically and formally. I have slowed down production, focusing on intuitive, feeling-focused making. I have chosen to work at a smaller, more storable scale, refusing to work larger. I have chosen to mainly produce work collaboratively, and in non-physical or degradable mediums i.e. performance, video, biomaterials, organic matter, sugar glass and hair. I applied a circular economy to my acquisition of materials.

Locality is integral to my work, with spaces being chosen to enhance and further communicate concepts and themes of a piece. I’m particularly interested in liminal spaces that feel depersonalised yet intimate.