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Historically grounded and materially restless, my practice addresses obscured

histories, particularly those of women whose labour, bodies, and experiences

have been overlooked or erased. I examine the systems that shape and

constrain bodies, asking who is remembered, who is forgotten, and how

Memory is held.

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Working primarily with human hair, including familial hair, salon waste, and

donated strands,I create intricate sculptural forms and installations using

 traditional and self-devised techniques of braiding, spinning, weaving, sewing,

and knotting. These gestures draw on Victorian. mourning hair work and other

marginalised craft traditions long dismissed as ornamental or sentimental.

By reclaiming and adapting these techniques, I reframe domestic craft as a

site of feminist resistance through the endurance of material culture,

connecting historical silencing to my own embodied experience.

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My practice explores the preservation and loss of the complex relationality between bodies, histories, and objects, as well as the tension between beauty and abjection. Hair’s status shifts dramatically once severed from the body: the once-cherished becomes abject. This transformation reveals how women’s bodies and labour are similarly regulated, valued, and discarded. Through material-led practice, hair becomes a carrier of affective histories.

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Guided by feminist and posthumanist theory, I explore material afterlives and the agency of matter. Hair occupies a liminal space between life and death, self and other, private ritual and public memory. It resists erasure, holding presence long after separation from the body, and bearing witness across time, bodies, and forms.

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Ultimately, my practice explores the felt experience of womanhood, its residues, refusals, and unspoken histories. It is an act of reclamation: reclaiming marginalised knowledge, reclaiming the body as a site of agency, and reclaiming voice within a cultural landscape that continues to ask women to remain compliant, controlled, and quiet.