(she/her)

I’m a visual artist with a background in theatre facilitation and an interest in creating work that pushes the boundaries between artforms. In 2012, I completed a diploma in physical theatre practice before spending time in Prague learning traditional wooden marionette carving and manipulation. I spent the next four years working as a drama and puppetry facilitator with young people for companies such as Toonspeak, North Lanarkshire council and Wigton Book Festival.

In 2020 I graduated from Glasgow School of Art with a first class honours degree in Sculpture and Environmental Art, going on to earn a Masters with distinction in Fine Art Practice in 2021. Since graduating selected mentions include: sculptural work with Hidden Door at the Old Royal High (2022) and The Paper Factory (2025), My outdoor installation Alright Doll toured four festivals in the U.K and Ireland (2022), my experimental short film Tumshie was commissioned by the Village Storytelling Festival and screened at the CCA Glasgow (2022). I created an interactive installation for an intimate audience which I shared as a work-in-progress at Manipulate Festival (2025). Earlier this year my solo show Net Worthy was exhibited by Summerhall Arts as part of their season of exhibitions showcasing artists who use their art as activism.

My practice is rooted in activism. As a working class woman, I’m interested in how oppressive social structures intersect and how this structural violence impacts our everyday lives. These ideas manifest in various forms, namely sculpture, animation, illustration, performance practices and storytelling.

Through the practice of mould making and casting, my sculptural works are reminiscent of forms already known to us. This process of reproduction allows objects to take on an appearance that is instantly recognisable and comforting, while the contrasting choice of material creates a sense of the uncanny: a mistrust in the familiar. I am interested in how this process mirrors the reproductive role of women in a capitalist society, creating a continuity in my work between subject matter and material practice. These cast objects are often intertwined with steel, pulling at our association with industry and asking us to critique capitalist and patriarchal power structures.