About.

As a multifaceted fine artist, my practice explores themes of personal existence through sculpture, predominantly within immersive installations. Once separate and silent, my artworks come together to form a unified self-portrait of education and memory. Sculpture serves as a medium for interconnectivity, allowing diverse materials to collaborate in expressing the layered complexities of life. My projects range from small to large-scale works, engaging with both hard and soft materials—textiles, metal, and wood—enhanced by immersive elements such as light and sound. My process is rooted and embraces play as a means of discovery, investigating the uncanny aspects of human experience and the hidden systems of communication that shape our world. Inspired by mycelium networks, they examine the connections between materials, bodies, and environments, blurring the boundaries between organic and artificial. Through movement, fragility, and structural tension, their sculptures evoke a sense of curiosity and unease, inviting viewers to engage with the shifting dialogues between form, memory, and the unseen. Additionally, my research as expanded amongst feminism and the brain’s nervous system through a phenomenological lens.

Derelict Childhood (2023) is a sculpture series incorporating child-like qualities that are both comforting and sinister. Involved are abandoned childhood toys including a doll house and a tricycle that have been disfigured and incorporate their own visually uncomfortable self-portraiture dolls. Disproportionate limbs for the doll are constructed with fabrics filled with teddy bear stuffing, structured with wire in addition to latex for the face, feet, and hands, of which appear mouldy. The context interfaces the struggling attempts to reconnect with childhood, connecting with the subconscious complex layers of phenomenological self-discovery from adolescence to adulthood. Additionally, they symbolise the inescapable growth of life that reshapes these memories and makes it feel impossible to reunite with that innocent comfort.

The exhibition Metamorphose (2024) at Bournemouth’s Natural Science Museum, held from April 30th to June 4th, explored fungi and mycelium as the foundational network of the Earth's nervous system. My sculptural practice within this exhibition integrated both textiles and rigid materials, including fabric, thread, yarn, hot glue, and wire, creating a dialogue between movement and texture. By employing a minimalist yet intentional material framework, I focused on structure and an immersive engagement with the work’s organic qualities. The sculptures, displayed on the floor, walls, and suspended in space, formed interconnected ecosystems of varying shapes and sizes. This arrangement evoked a dynamic sense of circulation, tension, and communication—mirroring the intricate behaviors of mycelium and its vital role within biospheres.