You’re always on my mind, November 2025
This work is best shown in dim lighting. I like how the door frame becomes part of it and how it extends into the space beyond the doorway. It feels a little strange.
From my bedroom desk, I can turn my head and see my past along the hallway of my flat. It is as if I could actually step back into my past by walking to the next room, noticing how memory and everyday space overlap.
My first time, December 2025
43 x 34 cm
Paco rabanne 1 million aftershave, bedsheet, latex, printed canvas of digital image, mdf
This work is something I’m currently developing. It’s an image from July 2014 of my first lover, printed onto a canvas and mounted on an upholstered wooden board wrapped in a polka-dot bedsheet and a latex balloon.
The image of my first partner is sprayed with the aftershave he wore at the time, Paco Rabanne 1 Million, so as you stand next to the work, you can smell him too.
The balloon adds a fetish texture to something more innocent, like the bedding your mother might buy you, though it’s really just a balloon magic trick to wrap an object.
This work is about me losing my virginity to a boy and how that was seen by others around me, but it also reflects on the art world and what is valued.
You’re always on my mind, November 2025
245 x 99 cm
Pine, early 2000s frames, family photos taken in 1999-2004, radiator, copper pipe, scythe, skirting board, household paint
This work recreates a section of my family living room from 2006, with childhood images framed in early 2000s frames. I’ve edited myself out of each photograph except one, where the child is left only as a halved figure.
That cut runs through the space itself: the radiator below, usually the warmth/ heart of the home, has also been split.
The whole section feels as if it has been taken out or carved away, and the scythe resting against the wall becomes the tool that has done it.
Home ‘Sweet’ Home and Uprooted, 2025
I hope to show these works, and many more, in dimly lit spaces. The subtle warmth of the lighting, combined with these homely recreations, is meant to evoke the quiet feeling of moving through a house at night.
I also really enjoyed playing with these pieces, as each is inspired by different places and times in my life. Placing them together feels, to me, like the way memories intertwine.
Images of the works separately are available on my profile.
Uprooted, August 2025
245 x 23 cm
Pine, pyro, pencil, strike plate, gloss and standard wall paint, mdf
This sliver of a home references my house between 2007 and 2014. It was the first house my family rented after losing our home when I was 11, and from then on, we only lived in rented accommodation.
This doorway sits between the hallway with cream walls and my parents’ room with duck egg blue walls. I imagine standing there, leaning against the frame, asking their permission for something.
On this door frame is written my height from 1999 to 2015 in a mixture of coloured pen and pencil. It ends with me aged 19, when I moved out of my family home to study in London.
This work is about growth. Though we are constantly being uprooted and may have stopped growing taller, we are still developing.
Home ‘Sweet’ Home, September 2025
70 x 122 cm
Key hanger, four sets of keys with assorted key-rings which include car keys and Tesco club and other novelty items, switch with chrome finger plate, mdf and standard wall paint
This work is a recreation of my family hallway from 2015, as if you have just walked through the front door. The key rack suggests people are home; however, on closer inspection, you’ll find that one of the four sets of keys has been broken, with the keys made unusable and their only function left to open beer with the bottle opener keyring.
As you travel down the work, there is a relief of a dandelion. This was made using a decorative wall sticker attached to a painted surface, then painted ove and the sticker removed, revealing the relief. This process was taught to me by my mother, as this work is an identical recreation of her decorating.
I enjoy the dandelion motif and the aesthetics this work presents, as I believe it highlights aspects of working-class culture and day to day life.
Leftovers, June 2025
166 x 49 cm
When making this work, I really wanted to capture a family fridge in its honesty. On this fridge you will find souvenir magnets, family photos, an overdue water bill from Portsmouth City Council, a child’s drawing, a shopping list written on an envelope with cash inside, 2000s cereal boxes, a pile of old letters, a glass candle holder with a green lighter, and a poem in the centre of the work.
The poem reads as:
“4th November 2025 2:49am
The body is like a vegetable, and like it, I will rot. My mum always told me to stop fiddling with it, but my dick one day will fall off.
I miss my family, I’m nearly thirty now and they’ve missed my life. I am rotten and one day they’ll be right and I’ll be dead.
Anyway, I’ve just come to the fridge, but I’m out of beer, so I guess this is goodnight.”
Out of storage, May 2025
29 x 25 cm
Glass bauble, tissue paper, cardboard, oak and carpet
At the time of making this work, I was feeling stuck and felt that I wanted to make something quick and simple, so l chose to take this Portsmouth FC bauble in its packaging and placed it on the carpet as if I were unpacking the decorations for Christmas.
Live Laugh Love, April 2025
56 x 56 cm
Laser-etched glass, ceramic, wallpaper, wireless bulb and MDF
In this work, you are presented with a ghostly figure etched into glass, placed on a light fixture, against flower wallpaper. The etched image is an aged photograph of myself, with my tattoo, the crest of Portsmouth, visible on my hand.
The title Live Laugh Love plays with the language of cheerful home decoration, a phrase that promises comfort and simple happiness. Placing it alongside this ghostly image allows the work to feel hopeless, as if the person depicted has failed to live, laugh, and love.
Title: Neither Here Nor There (November 2024)
Medium: Wallpaper, MDF board, wooden skirting, air freshener, carpet, children’s vintage toy, 30th birthday cards, clock
This work is a recreation of my childhood home, based on photographs taken in the late 1990s.
The scene suggests a child was playing on the carpet and left their toy behind. Displayed on the centre dado rail are 30th birthday cards, with a clock ticking above them. At 28, I find myself approaching my 30s, reflecting on my life. This was my childhood home, a place that no longer exists, and this work seeks to express that sense of time slipping away.
Notably, a past work is hidden beneath the carpet in this piece. Titled Under the Floorboards (2023), it’s made from reclaimed floorboards. Concealed under these boards is a letter I wrote to my family last year, my first and only contact with them in many years.
Title: Behind Closed Doors, September 2024
Medium: uPVC double-glazed window, paper-mache, artificial flowers, blinds, Portsmouth sticker, and AI canvas
Within this window, the room is illuminated by warm lighting. One wall is wallpapered, with artificial flowers resting against it, while the other walls are painted cream. One wall features a light switch. The other displays a canvas depicting a mother pointing towards the door as a child cries.
The canvas hung on the wall behind the blinds was created by first searching through photographs from an estate agent based in Portsmouth, the city where I’m from. I then used this found image and asked AI to generate this scenario within it.
I found this approach not only more affordable than hiring actors and a space but also more intriguing, as I had no control over how the characters looked or what they were wearing. In a way, I view this method as a form of ready-made in its own right.
Title: Drawing The Curtains, August 2024
Medium: Upvc double glazed window, Pebbledash, Paper mache, picture frames, fabric curtain and glass ornament fawn.
Within this window, the walls are painted cream and illuminated by warm lighting. Pictures frames and a glass ornament are positioned facing away and out of sight to the viewer.
The curtain is drawn and the lights are on, creating the impression that someone is home, but you’re not welcome to look in.
