Food has been a recurring element in my work, serving as a material starting point. I gather organic waste, forage, collect friends’ hair after haircuts, approaching this process with the care and attention of a meal preparation. These materials are either developed into physical objects, photographed and then printed to create a new sculptural form, or used as dyes.

Central to my practice is an engagement with monstrosity and otherness as categories for navigating posthuman and postnatural conditions. Rather than treating monstrosity as a deviation to be rejected, I approach it as a lens through which dominant ideas of the human, the natural, and the normal can be unsettled. Historically, monstrosity has functioned as a mechanism through which racialised, gendered, disabled, colonised, and animalised bodies are marked as excessive, threatening, or disposable, logics that continue to underpin ecological destruction and species hierarchies. My work reclaims monstrosity through softness, playfulness, and embodied disorientation, using speculative forms to trouble bodily and species boundaries without claiming access to non-human experience. I am interested in how these hybrid figurations can generate moments of estrangement and bodily slippage, inviting ethical reflection through sensation, ambiguity, and distance rather than empathy or identification.

My work invites visceral, tactile responses, creating metaphors for how we co-emerge with other forms of matter, performing a dance between various agencies. By navigating the intersections of opposites, self/other, internal/external, I draw on the concept of the abject.
I seek to evoke the sensations through which breakdowns in meaning disturb definitions, highlighting the strange power that suggests we are drawn to that which repels us.