When I was little I was told not to tell tales, now that is all I do.

I am a mixed-media artist and folklorist whose practice is grounded in storytelling, sustainability, and textile-based methodologies. My work investigates folklore as a living, embodied practice, examining how narratives are transmitted through material culture, labour, and processes historically associated with women’s work.

Textiles operate as both material and conceptual framework within my practice. Drawing on the work of Rozsika Parker, particularly her analysis of embroidery as a gendered form of labour and expression, I engage stitching, binding, and mending as critical acts that challenge the historical devaluation of women’s work. Informed by Glenn Adamson’s writing on craft and skill, I understand making as a form of embodied knowledge, where repetition, tactility, and process function as modes of thinking rather than secondary to conceptual practice.

As a mixed-race artist, textile processes connect me to intergenerational and cross-cultural traditions of making, situating personal heritage within broader histories of domestic labour, care, and repair. These processes allow folklore to be approached as a living, material practice transmitted through hands, habits, and everyday acts rather than fixed narratives.

My engagement with feminist materialism, particularly the work of Karen Barad and Jane Bennett, informs my understanding of materials as active agents in the production of meaning. Materials within my work; natural pigments, reclaimed textiles, and found objects are treated as participants rather than passive matter, carrying existing histories that shape each narrative. This approach positions folklore as materially entangled with environment, labour, and social relations.

Sustainability is central to both the ethical and conceptual dimensions of my practice. I work in a fully circular manner, using natural materials and reclaimed objects to resist extractive and accelerated modes of production. Slow, attentive making aligns with feminist critiques of productivity and value, foregrounding care and responsibility.

As a neurodivergent artist, the repetitive and rhythmic qualities of textile labour support embodied focus and presence, reinforcing making as a cognitive, affective process. Through a sustainable, craft-led practice, my work amplifies underrepresented voices and critically examines the intersections of folklore, women’s labour, heritage, and material agency.