Residual Forms, 2026, Cyanotype on cotton linen and card, 42 x 59.4 cm

This piece captures traces of objects that are no longer present. Using dried flowers, plant matter, and buttons, the works record silhouettes formed through direct contact with light.

These prints function as physical evidence of presence. The materials used, already detached from their original life, are fixed permanently through exposure, creating a tension between what fades and what is held in place.

The inclusion of fabric introduces a domestic context, where natural forms are arranged, pressed, and contained. This act of positioning and fixing suggests a quiet form of control, where organic matter is ordered and preserved.

Echoes of Use, 2026, Cotton linen, ink, charcoal, tea and thread, Installation, 59.4 x 84.1cm

Echoes of Use was created as part of Background Noise, a group exhibition presented at the The Maltings for the We Create Festival May 6th 2026. The work explores the quiet persistence of everyday actions. Repetitive gestures and internal thoughts that often go unnoticed yet shape daily life. The work reflects on routine, habit, and the accumulation of both physical and mental traces over time, capturing how these experiences become embedded within familiar environments.

The piece developed through a process-led approach using tea, charcoal, and ink to build layered, tactile surfaces. Repeated circular stains made with a mug reference habitual actions and the passage of time, while gestures such as wiping and scrubbing are translated into marks across the fabric. The material was cut, fragmented, and hand-stitched back together, creating a tension between disruption and repair. Text is layered throughout, combining words like “again” and “remember” with Shona phrases such as “ita zvakare” (do it again) and “usanete” (keep going), evoking a continuous internal dialogue. Together, these elements form a surface that holds both physical traces and intangible memory, reflecting the cyclical nature of use, thought, and habit.