My artistic practice encompasses performance, photography, video, and installation. I examine neoliberal culture using a queer, feminist, anti-capitalist lens. It is a form of activism and a feminist critique of representations of gender in commercial and popular culture. This began with an examination of naturalized gender performance in early works such as The Doll’s house and idealized representations of femininity in The Substitute and Visual Pleasure. In my still-life work, such as Pacifier and Hysterical Selfies, I attempted to describe the idealised, gendered, ageing body through commodities. I also examined self-tracking practices to understand how these forms of measurement and judgement contribute to an ideology of health, and produce particular subjectivities. 

Currently I am developing #Rebel Selves, a project that comprises a series of self-portraits, participatory installations, a smart phone app and artworks produced in collaboration with queer contemporary dancers.  #Rebel Selves critiques idealised heteronormative gender expectations in selfies and portraiture. A series of theatre flats and banners, wearable sculptures and photographic cut-outs create a performative space in which visitors can create queer selfies that rebel against gender and beauty norms. Selfies are an important contemporary mode of self-presentation, however, they are often restrained in relation to binary gender beauty ideals. Research shows that bodies that do not reflect these norms, such as those marginalised in terms of race, gender, sexuality, size and disability, are subject to greater discipline and hostility online. The project aims to develop a visual and gestural language for queer selfies present the individual as a glitchy, composite person formed from blurring fragments of body and installation. They will challenge the human centricity of consumer culture, blending the self with different objects, places, and people, to give a complex impression of a more-than-human multispecies tentacular entanglement, to use Donna Haraway’s term (2016).