I use mirrors, personal histories, and art history to both reflect the unseen territories of my own mind and question how women are seen and expected to perform. By placing the viewer directly within the work, they are invited to step into ‘her’ shoes and challenge the traditional, passive role assigned to the female muse, collapsing the boundary between subject and observer.

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I am a collector of the ‘feminine’ and the domestic. In the series Put A Lid on It, Love, the painted mouths are mounted in trinket boxes, which remain open to give voice to her so she may be the author of her own retelling. The drawings for She’s Asking For It are housed in miniature vintage collectors’ frames. In the series Bird’s Eye View, vintage powder compacts contain paintings of women's eyes copied from the works of long-dead male artists. We see from the muse’s own perspective as she looks at herself in the mirror. The viewer becomes the subject in an intimate moment of connection and reflection.

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The collectables and mirrors become tools of disruption rather than objects of domestic aspiration or personal vanity, asking the onlooker to confront their own gaze and the systems that shape it. Or, in ‘her’ own words:

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'Today was like any other day over the years; I felt countless eyes settle on me—curious, searching, hopeful. They study the curve of my parted lips, musing about what secrets I could tell, but I keep my thoughts to myself. In their gaze, I sense wonder, impatience, joy, and even disappointment, but they don't know me, so I just let their fascination wash over me. They are always changing, ageing, passing, whereas, after centuries of stillness, I remain poised, as patient as ever for my turn in the looking glass.’