Large-scale public artwork designed for speed, distance and proximity.
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I was invited to create a spray-paint mural for Levenshulme railway station, responding to the unique conditions of the site. The brief I set myself was to produce a work that could operate across multiple speeds and viewpoints.

The mural was designed to be vibrant and high-contrast, ensuring it could be clearly read from fast-moving inter-city trains passing through the station. At the same time, the composition needed to hold visual interest when viewed from Levenshulme Market and the car park below, as well as rewarding closer attention from pedestrians moving past the wall.

Using scale, colour and repetition, the work balances immediate impact with surface detail, allowing it to shift depending on how it is encountered. The mural functions as both a landmark and a moment of visual interruption within an everyday transport environment, embedding artwork directly into the rhythm of daily movement.

Artist-led exhibition combining material experimentation and social space.

These works were exhibited as part of an open house exhibition held in my home. In preparation for the show, I renovated the living room, repainting it white and temporarily reworking the space to function as a gallery environment.

The exhibition presented a series of mirrored works developed using a self-devised process. The protective backing of each mirror was laser-etched, exposing selected areas of the reflective surface. A chemical solution of hydrogen peroxide, salt and white vinegar was then applied to remove the mirrored layer, creating controlled erosion, pattern and transparency within the glass.

By combining digital precision with chemical reaction, the technique allowed for repetition alongside unpredictability, producing surfaces that shift between reflection, absence and image. The mirrors engage both the viewer and the surrounding space, folding environment, body and light into the work itself.
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An opening event was held in the evening, with a DJ set forming part of the gathering. Situated within a domestic setting rather than a formal gallery, the exhibition blurred boundaries between private and public space, using the home as a site for encounter, hospitality and shared experience.

High-contrast op-art mural created within a collective painting event.
In the summer of 2017, I was invited to take part in a paint jam beneath Waterloo Station in London. The event brought together multiple artists working simultaneously within a shared public space.

Rather than responding directly to the prevailing styles around me, I chose to develop a bold op-art mural that deliberately contrasted with the surrounding work. Using high-contrast geometry and optical rhythm, the piece focused on perception, movement and visual disruption rather than illustration or narrative.

The decision to work against the dominant visual language of the event resulted in the mural standing apart within the space, drawing significant attention from passers-by and other participants. The work demonstrated how difference, restraint and formal clarity can operate effectively within large-scale, collective environments.
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Positioned beneath a busy transport hub, the mural engaged with constant movement and flow, using optical tension to interrupt and momentarily hold the viewer’s attention.

Commissioned installation and public campaign — Manchester, 2016
In 2016 I completed a major commissioned project for the Palace Hotel, now known as Refuge, working with Kimpton Clocktower Manchester ahead of its reopening. The project centred on the transformation of a large-scale mural into a striking acrylic mirror installation for the building’s reception area, blending architectural presence with pattern, reflection and colour.


Alongside the permanent installation, the project expanded into a city-wide public intervention. In the lead-up to the opening, I launched a guerrilla-style marketing campaign across Manchester, designing and hand screen-printing my own wallpaper. Bold, vibrant and deliberately out of place, the work was installed across boarded-up windows throughout the city, creating moments of colour and disruption within areas undergoing construction and regeneration.


Rather than operating as conventional promotion, the campaign functioned as a temporary public artwork — a dispersed extension of the main installation that allowed the project to exist beyond the building itself. For those encountering it by chance, the work offered a brief interruption to the visual monotony of the urban landscape.
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Together, the installation and campaign explored repetition, surface and reflection at both architectural and street level, positioning pattern as a way of engaging public space and inviting attention through accumulation rather than spectacle.

Participatory graphic campaign using humour, print and distribution as political intervention.
Bun The Tories began in 2016 as an art-led response to the political climate in the UK and the renewed sense of optimism among younger voters during the rise of Corbynism. Rather than positioning the work as protest, the project used humour, graphic language and circulation to engage people who were politically disengaged or disillusioned.

The campaign centred on printed stickers and T-shirts, designed as bold, accessible objects intended to circulate quickly through social spaces, streets and online platforms. As a condition of receiving free stickers, participants were asked to register to vote and share confirmation of registration, linking the distribution of the work directly to civic participation.

Alongside this, T-shirts were sold with all profits donated to homeless charities, embedding fundraising into the project’s structure rather than treating it as a secondary outcome. Over the course of the campaign, more than £3,500 was raised for homelessness support.

As the work spread, Bun The Tories moved beyond a single artwork into a distributed intervention, operating across print, social media and public space. The campaign gained significant traction online, demonstrating how graphic practice, humour and participation can be used as tools for political engagement outside traditional activist frameworks.
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Presented here as an art-led intervention that prioritised distribution, participation and outcome over authorship.

Artist-led exhibition and club night responding to fashion, attitude and cultural influence.

Inspired by the work and legacy of Vivienne Westwood, I developed a new body of visual work that formed the basis of an exhibition and music-led event held at Font Bar.

The project combined newly produced artworks with a live DJ night, bringing together visual culture, fashion reference and sound within a shared social space. Alongside the exhibition, a competition invited attendees to create and wear their own Vivienne Westwood–inspired outfits, with the winning entry receiving a print from each of the exhibited designs.

Music played a central role in shaping the atmosphere of the night. I DJed alongside other selectors, curating sets that referenced music associated with Westwood’s cultural world — drawing on punk, post-punk and wider alternative influences rather than literal soundtracking.
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The event operated as both an exhibition opening and a participatory club night, allowing audiences to engage through dress, movement and presence as much as through viewing the work. The project explored how visual practice, fashion and music can intersect within informal cultural spaces, using influence as a starting point rather than a fixed aesthetic.

Time-specific response developed through making, repetition and translation
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​On 10 January 2016, the day David Bowie died, I spent the evening working in the studio in response to the news. Fabric and paint were gathered, and the night was spent making — throwing paint, working quickly and allowing the process to remain loose, emotional and instinctive rather than controlled.

From the painted surfaces, rubbings were taken onto paper, translating the original works into a secondary set of pieces. This act of transfer and repetition became central to the work, allowing texture, gesture and residue to carry across between materials.

The resulting paintings and paper works were later exhibited at Islington Gallery Space in Salford, presented as a quiet tribute rather than a literal homage. The project functioned as a moment of reflection, using process and material as a way of marking loss, influence and cultural impact through making.

Temporary retail space combining surface design, installation and public making.

In 2015, I was part of a collective that opened SWAG, an artist-led Christmas shop located in the heart of Manchester’s Northern Quarter. The project operated over a two-month period in the run-up to Christmas, combining retail, installation and creative workshops within a single space.

For the shop, I was responsible for the full window installation, designing and installing bespoke wallpaper and constructing a festive scene that included a custom-made rocking horse. The window functioned as both a visual anchor and an invitation into the space, designed to stand out within a busy retail environment.

Inside the shop, I also created bespoke curtains for the dressing room area, extending the visual language of the installation throughout the interior. Alongside selling work, the space hosted a programme of creative workshops, reinforcing the shop’s role as an active, participatory environment rather than a purely commercial one.
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SWAG operated as a temporary platform for artist-made work, testing how installation, design and making could coexist within a retail setting while remaining accessible, social and materially driven.

Single-pattern system developed across multiple objects and contexts.
This work was created for Christmas at the Mill in 2015. I set out to develop a complete range of products derived from a single repeating design, testing how one pattern could operate consistently across different formats.

The collection was titled Kath Kidston on Acid, referencing the visual language of mass-market British homeware while deliberately pushing it into a more exaggerated, graphic and disorienting territory. The pattern was built from geometric floral forms, drawing on familiarity while disrupting it through scale, repetition and colour.

The title also carried a personal reference — my mum regularly bought gifts from Cath Kidston, and the work played with that domestic nostalgia by reworking it through a more experimental lens.

As part of the exhibition, the pattern was also used in a photoshoot with the band Little Dragon, extending the work beyond objects and into image-making and documentation. This allowed the design to operate simultaneously as product, surface and visual identity.
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The project functioned as an exploration of pattern as a system — adaptable, repeatable and capable of moving between art object, retail context and image.

DIY, artist-led retail project supporting local makers and collective practice.
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In December 2014, I helped create Grotto, a temporary artist-run pop-up shop based in the Northern Quarter, Manchester. The space was provided free of charge, allowing us to build and operate a fully DIY retail environment in the run-up to Christmas.

The project brought together work by multiple artists, designers and makers, with the space collectively curated, managed and staffed. Alongside contributing work myself, I was involved in the installation, day-to-day running of the shop and the sale of artworks directly to the public.

Operating outside traditional gallery or commercial frameworks, Grotto functioned as both an exhibition space and a point of exchange, testing alternative ways of presenting, valuing and circulating work. The project emphasised collaboration, access and mutual support, using a temporary structure to create a visible platform for local creative practice.