Historically grounded and materially restless, my practice is driven by a desire

to animate the overlooked into forms that are resonant, resilient, and quietly

powerful.

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I work with human hair, primarily salon waste, but also familial strands, using

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

and knotting. These forms, whether free-standing, suspended, or wall-hung,

invite intimate inspection. Hair’s tactile presence draws the viewer in, while its

cultural and bodily resonances resist comfort. At once deeply personal and

symbolically charged, hair carries complex meanings of identity, memory,

and value.

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Drawing on Sara Ahmed’s notion that emotions circulate and stick to bodies

and objects, my work treats hair as a carrier of affective histories: mourning,

intimacy, refusal, across time. Hair’s abject status mirrors the societal regulation

of women’s bodies and labor. Yet, through material-led practice, it becomes a

site of feminist archival resistance, allowing affective intensities to be reoriented and reimagined.

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At the core of my practice is a fascination with hybridity, material afterlives, and the agency of matter. Hair, cherished while part of the body, becomes abject once severed. This shift in perception reveals fluid boundaries between attraction and revulsion, intimacy and estrangement, beauty and decay.

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Guided by feminist and posthumanist theory, I explore how hair occupies a liminal space between life and death, individual and collective, organic and symbolic. Hair holds presence long after separation from the body. It resists erasure and speaks of care, kinship, and the quiet persistence of what we discard.

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I draw upon Victorian mourning hairwork not only for its technical intricacy but for its buried histories: a craft long dismissed as sentimental and feminine, yet profoundly expressive of grief, resilience, and ritual. By reviving and reinterpreting these techniques, I reclaim marginalised knowledge and invite dialogue between past and present.

The weird and the eerie thread through my work, animating forms that unsettle the familiar and reveal what persists beneath the surface. In a world that often overlooks the unseen, my practice creates moments of pause—offering space for reflection, recognition, and revaluation.

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Bio

I’m an artist based in Sheffield, UK, working with human hair to explore material agency, memory, and feminist archival resistance. My practice is research-led and materially grounded, drawing on Victorian hairwork techniques and posthumanist theory to create sculptural forms that straddle beauty, decay, and the uncanny. I collaborate with museum collections, archives, and institutions, and am currently completing an MFA in Fine Art at Sheffield Hallam University.