Artist Statement.

My current practice centres around displacement through personal experience whilst also resonating with broader social issues and the global crisis. Drawing on Gilles Deleuze’s philosophy of deterritorialization and reterritorialization, I interpret these concepts with my own understanding of what it means to be displaced, to navigate change, and to constantly attempt to rebuild.

Somewhere between iconography, mysticism and a tarot card aesthetic, I combine traditional and expanded painting techniques with textiles, embroidery, beads, gold gilding, joss paper, bells, feathers and other found objects. These choice materials are rich in cultural, spiritual, and personal symbolism. For me, sewing combined with my select materials and the purpose behind my process speaks to both vulnerability and repair.

I intentionally work on unstretched canvases and believe installation is an art form permitting full realisation of my submersive work and enhancing the transient and temporary experience associated with displacement by using third space settings to exhibit my work.

I gained an MFA from Cambridge School of Art and currently maintain my studio practice in Cambridge.

Part of my practice is socially engaged through facilitation of free workshops at a café in Cambridge, England. This café provides vital support for both individuals and the community, offering a wide range of groups and workshops including a food hub for those struggling with the cost of living. I believe art should be accessible to everyone regardless of their background and resources.

“Tonight we seek shelter under the stars” (2026)

Work in progress

Acrylic, velvet, silk, lace, feathers, bells, beading, textile birds, mirrors, sequins, embroidery thread, gold gilding and antique gold gilding wax on unstretched canvas.

Dimensions: L 1m 87cms x W 1m 53cms

“Longing to return to Source” (2026)

Acrylic, textiles, beads, gold gilding, joss paper embroidered lace and bells with fringing on unstretched canvas.

Dimensions: L 1m 90cms x W 1m 57cms

The two pieces above are my most recent works from my body of work 2026. It is always an intention that my work evolves and criticality coupled with regular studio crits are vital for progress.

In “We seek shelter under the stars” I express my first experience of displacement at 16. My essay on this piece and a more detailed insight into my materials, process and why this piece is an important turning point will be published here.

In “Longing to return to Source” it embodies this seasoned nomads philosophy on displacement. How even though we may be displaced, the act of creating is connection to true source. Rumi’s flute, a hollowed out reed cut from the reed bed plays the most beautiful music longing to return to Source. I am also interpreting Gilles Deleuze’s philosophy on Deterritorialization and Reterritorialization in a more universal way here.

Temporary installations can challenge conventional ideas of permanence, legitimacy and public engagement. Moving between artistic practice, critical institutional thinking and curatorial strategy creates this fleeting event whose transient nature is integral to its meaning.

My Third Space installations seek to capture this.

I deliberately work on unstretched canvases with this in mind.

“The answer my friend is blowing in the wind” (2026)

Third space installation.

This documented installation fully realises Deleuze's philosophy on Deterritorialization and Reterritorialization.

It is the language of displacement, the geo-philosopher and the nomad.

Rumi’s flute is a hollowed out reed cut from the reed bed that plays the most beautiful music longing to return to Source…home. Yet on a deeper level, connecting to Source, oneness and essence is self-realisation and an awakening. We are all Source. As diaspora this can be comforting.

Body of work 2026

Cosmic Angels.

The cosmic dual angels above shown together reflect yin yang symbolism, light and dark, male and female expressing duality. The androgenous appearance of my angels intentionally conveys transcendence of any singular identity.

We are all made of light and dark which is our dual nature, and it is only in the darkness that we find the light. A frequent personal statement and theme informed by my personal transcendence and recovery from the trauma of displacement. Belonging, returning and remembering are important.

I have also been experimenting with the illumination of these works using a variety of light sources, and have been developing a contemporary twist on illuminated manuscript text by embedding my own symbols—such as the Om sign—using layers of joss paper. This practice is informed by and reflects an understanding of the quiet peace that accompanies the realization of the impermanence of all things. Subverting the institutional intention behind the historical visual language of illuminated manuscripts, which I have carefully researched and closely studied. Resulting in my interventions.

We cannot be sure if the fire (dark) angel is floating or falling. Furthermore, peacocks are flightless birds. I feel the feathers represent the third eye, or all seeing eye. I also like to obscure text.

The white angel on the left hand side is more overtly influenced by typically traditional Catholic iconography, and I like the juxtaposition between the two angles viewed together. More apparently yin and yang and compliments our dual nature.

We are all source, and gold essence is my expression of beings transcending and returning to source depicted as Sophia’s spark. Sophia is the Aeon of creation and divine wisdom in Gnosticism, and we all possess her divine spark.

This is my first project post M.A., and it continues to build on important themes I was exploring during my Masters. I have also been partly inspired by The Fold by Gilles Deleuze whose philosophy on Deterritorialization and Reterritorialization has resonated. It is about displacement.

Title: Source (Cosmic Oneness). 20/02/2026

Length: 1.84m x Width: 1.50m.

Joss paper, lace, gold gilding, pearls and acrylic on unstretched canvas.

The shawl around my figures left shoulder is called a Sanghati and is one piece of what is known as the ‘triple robe set’ worn by Buddhist monks. The patchwork pattern is called the ‘rice field’ pattern and symbolises simplicity, humility and rejection of material attachment. I have been greatly motivated by a group of Buddhist monks on their mindful walk for peace across the U.S.A in recent months.

“Sophia wisdom” (2026)

Acrylic, textiles, embroidery thread, gold gilding, joss paper, pearls and beading on canvas.

Dimensions: L 2m x W 1m 53 cms

Pearls of wisdom rain down from velvet and silk clouds.

I am currently in the experimental phase of my current project which allows me to explore a wider range of concepts and gain feedback.

My creative process instinctively knows the precise moment when I begin working with a broader, more diverse range of materials. Developing and refining my visual language remains my central concern and guiding focus.

Making

Masters Project.

The Dream Scene Installation (2025) at Cambridge School of Art. United Kingdom.

Title: The Mysterious Female Settles Her Dust and Finds Refuge in the Three Jewels.

Description: Installation that fuses Buddhist and Taoist concepts creating ‘The Ultimate Destination’ conceived as a Dream Scene. My work is frequently described as immersive. I wanted to submerse viewers even more in my work and amplified this immersion by drawing on Ilya Kabakov’s theory on installation.

At work on my project

First piece installed. I used fishing wire to suspend my work from rigging attached to the ceiling. I wanted the hanging pieces to appear to be free-floating, leaning into the dream scene effect and the theatricality of this work.