Icon’s 100 years of Bauhaus was a scary piece to take on, there are so many expectations and familiarities with the movement that I found it hard to escape. I looked back to its primal aesthetics to create something obvious but not conforming - like something is about to fall into place.

It’s nice to have fun and I love drawing people. But I’ve always tried to support non-binary and body-positive representation to promote healthy thinking. Through avoiding stereotypes in colour, shape, form, or scale I want to abstract them from reality and let the characters play.

It’s a crazy thing when I’m able to see my work take on a larger life than itself. I love the challenge of working to interesting or unusual outcomes, to see my drawings interact with space and people in new ways.

Making personal work is a life long flow. Being able to express the way I feel and see brings me closer to my drawings, it breathes tighter conversations into the stories that I’d like to share. Embracing evolution in my practice keeps me excited to create new work.

There's a snappiness in animation that can give weight and maybe some much-needed cheek to my drawings. I’m always down to explore ways we can bring things to life.

Places can stay with me, and I’m interested in translating the world around me. From the everyday and overlooked, but also the way a place can take on a situation like human emotion in a deeper, less literal place that can’t always be represented so singularly.

When I want to show a feeling or mood that can’t be explained in lines or objects I always look at texture. I think it can have the quality to lift or bring down an idea and help it to connect on more emotional levels.

London

New York