Ongoing visual strand connecting print, pattern and live sound practice - 2025
A selection of posters designed in 2025 for events and nights I DJ’d at. The work forms part of an ongoing visual strand connected to live sound practice, drawing on repetition, colour and pattern as a way of extending the atmosphere of an event beyond the room.

Pedal-powered meeting space designed for visibility, conversation and shared use.
I was commissioned by One Manchester housing association to develop a vehicle that could function both as a talking point and as a practical place for people to meet. The brief called for something mobile, approachable and rooted in ideas of access and shared space.

I proposed a pedal-powered structure and, working in collaboration with a local woodworker, developed the M-Wagon. The body was constructed from 3mm plywood, laminated with foam to create a structure that was lightweight yet strong enough to accommodate up to four seated occupants.

The vehicle is designed to be towed by an electric trike, allowing it to move easily through neighbourhoods and public spaces. Its form encourages conversation and gathering, turning the act of movement into an opportunity for engagement rather than spectacle.
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The M-Wagon operates as a mobile social sculpture — part vehicle, part meeting space — using simple materials and human-powered movement to create moments of connection within everyday environments.

Long-term, resident-led project combining cycling, sound, branding and social infrastructure.

I first encountered the disused and dilapidated railway station in Levenshulme in 2017. At that time, local residents were beginning to explore how the building might be reopened and repurposed as a community asset. What followed was a prolonged period of development, fundraising and negotiation, significantly delayed by the Covid-19 pandemic, before the space finally opened its doors in 2022 as a cycle café and social hub.

Station South was initiated by local residents and developed collectively. My role sat across both creative and practical leadership. I acted as project manager for the build, overseeing the development of the space from concept through to delivery, while also contributing as the sole artist involved in the project.

Alongside managing the build process, I developed the full visual identity and branding for Station South, and shaped its cultural programme. Drawing on experience in sound, events and live practice, I introduced DJs, bands and informal listening into the space, integrating music as part of the café’s everyday atmosphere rather than as a headline attraction.

Station South operates as a place of movement and pause — somewhere to arrive, meet, repair, listen and return. Cultural activity is embedded through use, with participation occurring organically through daily rhythms rather than formal programming.
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The project demonstrates how artistic practice can extend into the management, construction and long-term stewardship of shared infrastructure, combining creativity, organisation and collaboration to transform an abandoned building into a living public space.

Material-led artwork reflecting endurance, protection and survival at the end of lockdown.
This work was created in December 2021 as a response to the Covid pandemic and the tentative sense of emergence from lockdown, illness and prolonged uncertainty. The piece involved printing directly onto £20 banknotes, using currency as both material and symbol.

One side of the note focuses on love — referencing the collective care shown during the pandemic, particularly towards the NHS and key workers, as well as the personal experiences of love and connection that shaped that year. The choice of currency situates these ideas within systems of value, exchange and everyday circulation.

The reverse side features an image drawn from a Caravaggio painting of Saint Sebastian. Historically, Saint Sebastian came to represent protection, endurance and survival, and was widely believed to offer protection against plague. Unlike martyrs who are defined by death, Sebastian is defined by survival — wounded, pierced, but not killed.

In this context, his body becomes a site of resilience rather than sacrifice. The pairing of Saint Sebastian with contemporary currency brings together historical symbolism and modern systems of worth, reflecting on how societies measure value during moments of collective crisis.
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The work sits between commemoration and quiet intervention, using recognisable materials and imagery to mark a period defined by vulnerability, endurance and survival.

Site-specific commissioned installation developed for a hospitality setting - 2021
Commissioned by Haunt in central Manchester, this work was developed as a site-specific piece for the launch of the bar. The project combines patterned fabric, laser-cut forms and mirrored acrylic to create a layered object that responds to the interior space and lighting conditions.​

Text-based installation responding to transition, uncertainty and collective pause.
This work was created for a group exhibition at Manchester School of Art marking the completion of the BA (Hons) Interactive Arts course. The newly opened art school building features expansive reception spaces, and I proposed creating a large-scale banner to occupy this transitional public area.


The banner carried a quote from Tony Eve, founder of the Interactive Arts course, originally spoken to me during a difficult moment while studying. Removed from its original context and re-presented at scale, the text became both personal and collective — addressing doubt, endurance and continuation at a point of shared transition.


The exhibition opening never took place. As the work was installed, Covid-19 was beginning to take hold and the UK entered its first national lockdown. In this altered context, the quote took on an expanded meaning, resonating far beyond its initial intention and speaking directly to a moment of collective uncertainty.
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Rather than functioning as a celebratory conclusion, the banner became a marker of interruption and pause — a piece that existed on the threshold between completion and suspension, before the work could be publicly gathered around.

Driving installation / mobile exhibition / photographic documentation — 2012–2020
Martha was a mobile artwork: a driving installation that existed on the streets rather than in a gallery. A 1989 cream Mercedes hearse, she was acquired from a funeral director in London and driven back to Manchester, operating as a moving presence within everyday urban space.


Over an eight-year period, the vehicle was driven, inhabited and adapted as both an installation and a working studio. Artwork was produced in the back of the hearse and displayed through its large side windows, allowing the vehicle itself to function as a mobile exhibition space. As an object in motion, Martha disrupted the visual language of the street, carrying strong cultural associations of ritual and ceremony into ordinary, public settings.


The project developed through touring and sustained use. Martha was used to travel across the UK and Europe, including journeys to Berlin, Croatia and Milan, and became part of music festivals, street-based interventions and collaborative events. Alongside visual work, the vehicle was integrated into sound-system culture, touring and working with Dub Smuggler Sound System and operating within festival environments.


Rather than occupying a fixed site, the work unfolded through movement, repetition and encounter. Images document moments where the vehicle sits awkwardly within familiar contexts, creating a quiet tension between the symbolic and the everyday.
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Martha functioned as a living, breathing piece of art — a difference to the norm — allowing meaning to accumulate over time through presence, travel and use.

Photo series / performative documentation
This series was developed in response to the Brexit referendum and the cultural atmosphere that followed. The work began from a position of clear disagreement with Brexit and a desire to remain within Europe, but was approached through satire rather than direct protest.

I designed a patterned fabric and commissioned a bespoke tracksuit from a local seamstress. The garment was intended as a tongue-in-cheek visual stereotype, drawing on media imagery and caricature associated with anti-immigration rhetoric at the time. The outfit was worn in public settings and photographed as a form of performative documentation.

During the process I deliberately engaged with tabloid culture, including regularly reading The Sun, a prominent supporter of Brexit, as a way of immersing myself in the visual and narrative language surrounding the campaign.

Rather than presenting an argument, the work focuses on costume, behaviour and everyday symbolism, using humour and exaggeration to reflect on how political identity is performed and consumed. In hindsight, the images sit as a record of a moment that has since been widely reassessed, as the economic and social consequences of Brexit have unfolded.

Presented here as part of an ongoing archive of practice rather than a definitive statement.

Collective pop-up shop combining fabrication, retail and commissioned work.

In December 2018, I was part of the Salford Makers collective, which opened an artist-led Christmas shop on Chapel Street in Salford. The project operated as a temporary retail and exhibition space, bringing together work by local artists and makers in a shared, self-managed environment.

For the shop, I produced a series of bespoke Christmas decorations made from laser-etched acrylic mirror, exploring reflection, repetition and surface through small-scale fabricated objects. Alongside these, I created four commissioned laser-etched glass mirrors specifically for the exhibition and shop space.

The works combined digital processes with material experimentation, allowing precision and variation to coexist across both decorative and functional objects. Positioned within a retail context, the pieces tested how crafted, process-led work could circulate outside traditional gallery settings while remaining materially and conceptually resolved.
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The project emphasised collaboration, visibility and direct engagement with audiences, using a seasonal pop-up format to create access to artist-made work within the city.

Graphic pattern developed for live protest, performance and media circulation.
In July 2018, I was invited by drag artist Cheddar Gorgeous to develop printed fabric for Drag Against Trump, a protest staged in London in response to the visit of Donald Trump to the UK. The work formed part of a highly visible public action that combined drag, performance and political intervention.

I designed a repeating graphic pattern that brought together imagery symbolising wider global and social issues, using print as a visual language capable of operating at scale and under media scrutiny. The fabric was produced in three distinct colourways — one for each performer.

The garments were constructed by drag artist and designer Liquorice Black and worn by Cheddar Gorgeous, Liquorice Black and Anna Phylactic, positioning the printed work at the centre of the protest’s visual identity.

The action received extensive national media coverage, with the performers appearing across major outlets including BBC Newsnight and The Guardian. Through collaboration, costume and repetition, the work demonstrated how graphic practice can operate as a live, collective and media-facing form of protest.