God is a rabbit
2024

Video
08:43

  • Swept up in desire and longing, the bunny journeys through a series of scenarios in a variety of guises, inhabiting her own conjured worlds. Multiple universes proliferate and uncover expressions of being “...because she realised that God is a rabbit.”

Main Character
2022

Video
06:35

  • Commissioned by Petra Szemán and produced in collaboration with isthisit? and Off Site Project. Funded by Arts Council England.
     
    Main Character centres around the Bunny as she experiences the abrupt end of her relationship against the backdrop of her life in a cyberpunk city and her evening gig as a singer. While the event tears a hole in the fabric of her reality it leads to reflection on the nature of being and what can be found under the surface appearance of things. Flipping between 3D visuals, 2D animation and live action footage, the video takes inspiration from cartoons, video games and music videos as a way to navigate the character’s relationship to life.

Birthday Cake
2021

Video
03:12

  • Commissioned by Wells Projects and funded by Arts Council England.

    Birthday Cake is based on the 1996 song of the same name by the band Cibo Matto. The song lyrics refer to a woman making a birthday cake for her son, who is turning 30. The cake includes mouldy milk and huge amounts of ingredients that have no place in a cake, yet the mother insists she is making the cake out of love. She is an overbearing presence who believes that more is better- and refuses to believe she is making her offspring sick. I play the part of the mother and the son in the video, which is set in the kitchen as she makes the cake. I am the quintessential cartoon mom and son, exaggerating the relationship between the two. 

Mother
2020

Air-drying clay
9cm x 3.5cm

  • A clay model of my childhood Tamagotchi, which I kept for sentimental value. The cyber-pet represents an early foray into digital worlds and handheld devices, as well as caring responsibilities. Nostalgia is expressed through its imperfect replication in clay, as if it were an archaeological find.

1997 BC
2020

GIF

  • Commission for Big Window.

    The piece is a digital collage featuring imagery of cityscapes and childhood play, and looped videos of footage filmed in a shopping mall in the 90s. The text reads ‘I care for myself the way I cared for my Tamagotchi’, relating to the nostalgia of my first experience of caring for another being, which happened to be a digital pet. The piece also interrogates the power of escapism, defining one’s own personhood, the haunting of past eras as we experience late stage capitalism, and the phenomenon of growing up right as the analogue was giving way to the digital. 

Now that we know the world is ending soon…what are you gonna wear?
2019

Video, 04:05

  • Late-stage capitalism has left us lonely, disconnected and without a spiritual centre; fractured identities span the online and offline worlds; and there’s a condition of perpetual information overload in an oversaturated, neon dystopia. There’s also a rabbit.

RELAX!!
2019

LED USB fan, power bank, tripod
Dimensions variable

  • A digital sculpture which mirrors the bombardment of messages, notifications and thoughts experienced by all of us on a daily basis. The rotating, luminous text including snippets of thoughts, text messages and other daily information acts here as a shorthand of the experience of anxiety, and points to the hypnotic and frenetic nature of the stream of information offered by our devices.

Don’t Hate Me Cos You Ain’t Me
2019

Acrylic on yoga mat
176cm x 60cm

  • Inspired by memes found on Instagram, the piece mimics the lowbrow DIY aesthetic, darkly humorous words and confessional, self-deprecating brand of humour found on many corners of the internet to comment on femininity, anxiety and how we present our lives online.

Portrait of an East London Fuckboi
2019

Digital image and print
200cm x 200cm

  • Through the assembly of objects, symbols and texts, the work portrays the essence of a contemporary archetype. The work is an exploration of the mundanity of heartbreak in the age of dating apps, when we are reduced to a throwaway two dimensional profile. I wanted to look at the depth of feelings and connections that occasionally arise out of these initially shallow interactions. The work is peppered with intimate text messages and familiar imagery, conjuring up snapshots of a time period and a person.

Electric Lady Land
2018

Video
03:38

  • Commissioned by BOM.

    Playing with ideas of nostalgia, melancholia and longing, as well as glamour, pleasure and luxury, Electric Lady Land's visuals shift seamlessly from scene to scene as the neon lights of a city dissolve into tropical skies. The exaggerated femme fatale bunny is a cartoon-like cliché, completing the hazy fantasy of urban nightlife.

4 Survival 4 Pleasure
2017

Video
07:19

  • 4 Survival 4 Pleasure follows my avatar on a journey through a succession of luxurious digital landscapes, asserting agency through the multifaceted ways she presents herself. The piece embodies transgressed boundaries between human, nature and machine and imagines the protagonist as more than human, post-human, or cyborgian.

Orange Bikini
2015

Video
04:47

  • Commissioned by Fierce Festival 2015. Supported by Jerwood Charitable Foundation and John Feeney Charitable Trust

    Orange Bikini presents a journey through a montage of scenarios, set in a digital world created using the chat metaverse IMVU. The protagonist, an avatar based on the myself, moves alone throughout the dreamlike sequence. The work echoes the intentions of users of the early internet, in particular early cyberfeminists, to build a digital utopia. It also points towards the increasing dominance of virtual worlds in our lives, as well as the roles of personal agency and imagination in world creation. 

Gym Class
2015

Video
04:55

  • Gym Class deals with the digitalisation of the physical body and the use of technology to influence and regulate the body. Apps and other tech are used to digitise bodily processes and log them as measurable data. My avatar, who is the main subject of the work, embodies anxiety and the quest for perfection often embarked on in online spaces and in customisable video game characters. Youtube workout videos, squats, and twerking feature as ways in which the body is attempted to be brought in line with beauty ideals, particularly pertaining to black women, and the beauty standards of Instagram fitness models. Bernadette Wegenstein’s text The Cosmetic Gaze states how humans view their own and others’ bodies as projects that are there to be improved upon; lying in wait of intervention, modification and technologies of enhancement.