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.

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

This practice operates across studio work, museum collections, and public engagement, where objects are read through historical documentation and embodied reconstruction, and knowledge is shared through making, demonstration, and participation.