Postcards to you

09/05/2026

🇷🇴

02/05/2026

In progress

24/04/2026

13/04/2026

12/04/2026

So touched and overwhelmed by the way people have connected to the exhibition, and by the many open and vulnerable conversations we’ve shared.

I’ll be sharing some videos over the next few days about the process, and as so many of you suggested, I’ll also be holding a few cyanotype workshops over the summer — dates to be announced soon.

Thank you for taking the time to come and experience the work.

A big thank you to Colin ( ) for supporting me through my creative process and believing in me, to Razvan for co-curating and being by my side throughout, and to Tara for helping bring the space together.

Thank you to Rebecca , Harry , for their practical support and all my amazing friends who came, shared thoughts, sent messages, and supported me along the way.

To those who came as strangers and left as something else — thank you for taking the time to see the work, and for the openness and vulnerability you brought into the space.

And to my children, my anchors and my muses — for everything you’ve taught me about love.

This exhibition has been a step out of my shell, and a moment I felt ready to arrive at.

28/03/2026

I’ve been wanting to share a bit of the process behind the work for my upcoming show, because a lot of it is quite invisible.

Making these cyanotypes has been much harder than I expected. Being an artist and a mum, working four days a week, and trying to find time around everything else — it’s meant making work in fragments, in between, late at night or early in the morning. A lot of days and evenings have been sacrificed, and I haven’t been sleeping much.

The process starts long before the prints themselves. Selecting the images has been a process in itself. I didn’t want to use straightforward, clear photographs — I wanted to stay true to my way of working. Most of my images use double exposure, so they’re already layered, slightly obscured, not immediately readable. Turning those into negatives and printing them onto acetate has been time-consuming, and sometimes unpredictable, because the images aren’t simple to translate into this process.

Then the fabrics need to be prepared — washed, dried, ironed. I didn’t even have an iron, so I had to borrow one from a friend. It’s been a lot of small, practical steps before even getting to the image.

Then there’s the making. Carrying large sheets of glass and plywood in and out, setting everything up, packing it away again. I don’t have a garden, so everything has to be moved each time. I’ve cut my hands more than once on the glass.

And then the weather… cyanotypes depend on light, and the last few weeks have been unpredictable. Sunny when I’m working, grey and foggy when I’m free. So I’ve had to work around that, sometimes coating everything in the dark, turning my space into a temporary darkroom, sitting in it quietly while things dry.

Then carrying everything back, washing, waiting, drying… and not always knowing how it will turn out.

I think I just wanted to share that this work has taken a lot — physically, emotionally, and practically. And a lot of that labour doesn’t show when you see the final pieces.

But it’s all there, in the fabric.

If you’d like to see the work, the opening night is on 3 April from 18:00 at Electro Studios, Hastings — you’re very welcome to come along ❤️

15/03/2026

A reminder that the private view of my exhibition is on the 3rd of April, at 18:00

08/03/2026

Getting ready for the show on the 3rd of April
Tick-tock

28/02/2026