Works
Working primarily with moving image, my practice explores memory, identity and social relations through both personal and observed encounters. I’m drawn to domestic and everyday spaces, where lived experience and memory sit alongside psychogeography and traces of time.
where grandma lives, 2023 – Present work in progress
where grandma lives is a work in progress video that documents my grandmother’s house while she was bedridden with Parkinson’s disease. Filmed using a handheld camera from my childhood, the work moves through the domestic space slowly, observing small details and quiet moments of care, absence and presence.
The house becomes both a physical and emotional site, holding layered memories of family life alongside the reality of illness and change. Through returning to this space with an old familiar device, the work reflects on how memory is embedded in places, and how looking itself can become a way of holding onto someone.
togather collective, 2024 - Present
togather is a curatorial collective founded by myself and Annabel Miller. Our practice is rooted in collaboration, care, and relational ways of working.
Through workshops, research and public projects, we create spaces for exchange that centre listening, shared authorship, and conversation. We are interested in how creative practice can act as a site for connection between people and communities.
places and faces, 2021 watch here
Places and Faces (2021) is a two-channel video installation developed as part of my BA Fine Art degree at the University of Reading. The work was later selected for the Platform Graduate Award 2021 and displayed at Modern Art Oxford as a solo show.
The piece moves between two sites: Reading during lockdown and a ghost town in Cyprus that was abandoned during conflict in 1974 and has since been overtaken by nature. It explores how cities carry traces of people, memory, and absence.
Through observational footage of everyday movement and urban detail, it reflects on how people inhabit space and how environments in turn shape behaviour, rhythm, and feeling. The city is considered as something lived in and sensed, but also as something that holds traces of what has been lost or left behind.
More information about this project can be found here.
Artist Residency with Visual Voices, 2020
Which is Which? (2020) was developed as part of my residency with Visual Voices in Cyprus for the exhibition Crossing 24/31: I always confuse south to north, north to south, held at Goethe-Institut Zypern within the UN Buffer Zone in Nicosia.
The work begins with a question around recognition and perception: what can be read from a face, and how identity is understood across divided geographies such as north and south Cyprus.
In Cyprus, photography was not always as widespread or accessible as it is today, and often considered a luxury, typically reserved for special occasions. One of the most prevalent image types in family albums are wedding and couple photographs, a form of visual memory that appears across Cypriot communities, including Turkish Cypriots, Greek Cypriots, Armenians, Maronites and others.
Drawing from my own family archive, I worked with these familiar images and reworked them through embroidery. By stitching into the photographs by hand, I introduced a slower, material intervention into personal and collective histories, creating a dialogue between past and present.
Through this process, the work considers the relationship between familiarity and difference and how shared visual forms can be re-read, blurred or mistaken. Which is Which? reflects on how identity is constructed through images, and how it can shift depending on context, memory, and perception.
More information about this project can be found here.
The road back to my childhood, 2021
The Road Back to My Childhood (2021) is a 4-minute video work that documents a recurring Sunday journey in Cyprus, travelling with my family to visit my grandparents in the village of Vadili. That summer, I began to record this route as a way of tracing a familiar landscape that is closely tied to memory and childhood.
The work combines new footage of the journey with material from our family video archive, including recordings from my own childhood. These layers sit alongside one another, forming a return to a place that is both present and remembered, stable and shifting.
The piece is influenced by psychogeographic approaches to observing landscape and movement, particularly the work of Patrick Keiller. It also draws on the road-based filming of Wim Wenders’ Road Movie Trilogy (1974) and Charlotte Prodger’s BRIDGIT (2016), where the act of travelling becomes a way of thinking through time, place, and self.