The tiles represent the vibrant nightlife of London in the 1980s, celebrating moments of connection and joy while resisting erasure.

The imagery was inpsired by Derek Ridgers' photos of Leigh Bowery and his friends at Taboo, and stills from films and documentaries such ‘Blue Jean’, and ‘Rebel Dykes’,  addressing the creation of safe spaces during the era of Section 28 in the UK.

The inlay process is a medieval technique which I adapted by pressing carved linocuts into the terracotta, filling the gaps with white slip, and once dry scraping back the dried slip to reveal the inlay design.

I then applied honey glaze to each of the tiles to give the sense of unearthing old photographs and preserving these fleeting moments of queer joy in the clay.

Linocut

‘Go row the boat to safer grounds. But don't you know we're stronger now.
My heart still beats and my skin still feels ... I'm running with the wolves tonight.’

Lyrics from Running with the Wolves
from Aurora’s album All my Demons Greeting Me as a Friend, 2016

This print features half self-portrait/half wolf figures set in a queer utopian landscape.

Inspired by a performance where I channelled my inner wolf through dance and meditation, the print reflects multiple joyful iterations of my queer self in the woods. Influenced by Peter Hujar's nature photography and Sally Gearhart’s ‘The Wanderground’, my work presents the forest as a healing space for all queer identities, including transgender and non-binary folk.

I aim to queer the narrative of Little Red Riding Hood, portraying the wolf not as a threatening figure but one that is just different. My characters, wearing a red Arsenal scarf, celebrate the sapphic women’s football fandom, updating the traditional red cloak. This celebrates the community I have found in the queer football community.

This work explores the duality of civilisation and wildness, challenging normative narratives and embracing the diversity of queer experience within a liberating woodland setting.

Painting 

These Soft Ground Etching marks the start of my queer coming-of-age exploration, featuring a protagonist and their horse on a journey toward the castle symbolising queer joy.

The character is a contemporary deity situated within the fantastical realm, while simultaneously embodying human qualities of passion, and unfulfilled desire. The story is derived from the unconscious, providing a distinctly surreal and dreamlike aesthetic.

This narrative questions the connections between landscape, animality, and the human condition. This extends to reflections on the deceased, including the loss of parts of oneself when coming to terms with one's true identity.






This print explores the intersection of gaming and queer culture, symbolising the potential to exist queerly as a hybrid wolf as both player and observer. The scene captures a moment of encountering wolf people in the woods, who extend an invitation to the character into their realm.

The initiation, represented through fishing, signifies self-sufficiency within the land, while the character's first catch serves as a symbol of the bountiful joys and abundance that await them in their queerness.

The electric, playful colour palette evokes nostalgia for gaming, simultaneously encapsulating the vibrant sexuality provided when forming connections with those who affirm one's queerness.

Ceramic Medieval inspired tile /2024
15 x 15 cm 

Made on Phil Root’s short course hosted at Spike Island Studios

Sleeping Horses / 2024 24 x 17 x 6 cm 

Glazed Ceramics with oxide detailing 

2025

Latest Projects - Introduction to Book-binding at London Centre for Book Arts

We were introduced to foil-blocking, a process of applying metallic or 'foil' effect on book covers and other surfaces using a technique similar to letterpress.

Pictured above are the following handmade items:
Pamphlets
Japanese Stab Bindings
Concertinas
Single-section Case Bindings
Exposed Spine Bindings
Round-back Case Bindings
Solander Boxes