Moving between conceptual art production, material-based research, and archival engagement, I work with human hair as a site of memory, embodied history, material transformation, and affective labour.

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Through sculpture, archival study, and reconstructed Victorian hairwork techniques, I explore how marginalised craft practices circulate, persist, and are reactivated through making.

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This practice operates across studio work, museum collections, and field-based research, where objects are read through both historical documentation and embodied reconstruction.