"A lot of my practice is to show comparisons of the male gaze within art and pornography. I often find that classic nude paintings, such as the Birth of Venus or Modigliani's reclining nudes, have been made for male consumption of the female body, and are perhaps on the same level as pornography. At least with pornography, they allow women to have orifices and a functioning body, in art history they tend to be dehumanised idols made of porcelain."

"My obsession with mixing images of the Virgin with images of the female nude started in Cyprus in 2018. I was drawn to the shelves in tourist shops, where little mass-produced idols of the Madonna were being sold right next to ones of Aphrodite. I was interested in what this said about what we expect of women. We want them to be beautiful, but we also want them to be mothers and virgins, and we don't want anyone else to touch them. If they do, then they aren't worth anything. I guess that's the difference between pornography and the nude in art."

"One of the first pieces I made mixing Christian artwork of the Virgin with pornography and the female nude. My intent isn't to cause offence, just to ask questions about why we have these specific values of womanhood and femininity, and why we struggle to accept women who cannot be defined by the categories of Virgin, Mother or Whore."

"My colour-block collages are mostly aesthetic, although the idea came from trying to represent the voiceless, identity-less women in nude paintings. Quite often, the shapes created in these collages go on to be the basis of bigger pieces and paintings. On their own, they are purely aesthetic, but they have the potential to be part of something much bigger."

"My colour-block collages are mostly aesthetic, although the idea came from trying to represent the voiceless, identity-less women in nude paintings. Quite often, the shapes created in these collages go on to be the basis of bigger pieces and paintings. On their own, they are purely aesthetic, but they have the potential to be part of something much bigger."

"My colour-block collages are mostly aesthetic, although the idea came from trying to represent the voiceless, identity-less women in nude paintings. Quite often, the shapes created in these collages go on to be the basis of bigger pieces and paintings. On their own, they are purely aesthetic, but they have the potential to be part of something much bigger."

"Like all of my pieces, ‘Hold Your Head Up’ served as a celebration of the beauty that is present within blackness. I feel as though I am incredibly lucky to be living in an era where the black community’s calls to be represented and heard are actually having some effect on what we see in mainstream media on a global scale. In spite of the many disheartening and regressive things we have come to encounter in the fight against supremacism and anti-blackness, the community continues to persevere. There is a real sense of pride and defiance in embracing all that comes with occupying a body that is black. I wanted to create a piece that practically exuded that sense of pride, capturing the momentum of the pro-black movement that has swept the globe so thoroughly in 2020. I hope the piece inspires people across the various diasporas to take genuine pride in who they are and hold their heads up high."

"I was inspired, as always, by the sheer diversity of skin tones and features that I observe within black women on a daily basis. I am fascinated by the origins of that diversity and take great interest in the studies of ancestry and lineage that offer various explanations for it. The discovery of ‘Mitochondrial Eve’ (in which it was concluded that the DNA of every human being, past and present, can be traced back to a single black woman) was particularly fascinating to me. That such an immense spectrum of shades and features could be present within a single source of DNA is almost inconceivable. I wanted to create a piece that both acknowledged and celebrated the immensity of this spectrum. In a world where, as black women, we are often told that we all look the same, ‘PIGMENT’ embodies the diversity of the beauty in blackness that we share."

"In another exploration of pigment, I created this piece to celebrate the unique beauty held by those with the richest of skin tones. I have always been fascinated by the deep and unique glow that dark skin appears to have and was incredibly excited to create a piece which captured that. Unlike the other women depicted in this collection, I have chosen not to adorn this subject with jewellery or makeup. I wanted her skin to be the sole focus of the piece and took particular care in rendering its glow, the texture of her hair, and the softness of her expression. All this in an attempt to illustrate the effortless beauty that I have witnessed within so many dark skinned friends, family members, and even in strangers. Every piece of artwork that I create has an ultimate purpose of combatting colourism and bolster the confidence of those who are ‘unconventionally’ yet effortlessly beautiful. This piece is no exception."

"This illustration is my reaction to a photo prompt made by Still Here Still Life, an initiative run by illustrators Zena Kay and Tess Smith-Roberts. The still life prompt caught my eye due to the rich, bright colours and delicious props. I turned the red gingham cloth into a picnic blanket overlooking a quiet, peaceful landscape, topped with an isolated house on a hill. These elements are becoming repetitive symbols in my work, indicating my need for space, solitude and escape, while remaining hopeful about the future through my use of bright and playful colours. In creating this work I experimented with new techniques and styles, looking for an equilibrium between my interest in both analogue and digital methods of image making."

"A collage aiming to capture the natural beauty and wonder which we experience in nature. As a young child we experience these moments frequently; a privilege we often outgrow. I enjoy blurring the lines between reality and dreams by mixing familiar imagery with vivid colours and unbounded forms."

"My designs are inspired by the human body, abstracting forms from different areas of the body. Everyone is different so this provides me with endless unique forms. I look for soft curves as I want my designs to be gentle to look at and almost soothing. The colour palette continues to further this by using mostly pastel shades."

"The Rock Of Ages is a very important iconic image in the tattoo art. Many artists recreated this image in their own style and it was an obvious choice to create my own version. I love this image and I’m really happy with the final result."

"I started to experiment with oil painting at the end of lockdown, around two years ago. With this painting I wanted to try out my skills on a larger surface and also painting a variety of textures. The original is 80x80cm on stretched canvas. I reach back to tattooing for my inspiration and using themes and references from the culture that means a lot to me. I want the viewer to experience the unusual balance of a dead skull and the living nature around it."

"A flower drawn freely onto a colourful red background. The image ties together the two natures of my work- the art I create for tattooing, and the art I create for paper. The colourful background is rooted in colour and mark making and layers, not applicable to tattooing, while the flower is graphic and linear, mirroring the way I create tattoos. The flower has been drawn on with no sketch to fit the canvas the way I would draw the same design on a person to fit them perfectly whilst being unique to them - but there is a juxtaposition in the limitation of the square canvas, as opposed to the canvas of the body, which allows the design to be guided by and contorted with the body."

"'Year 2020. The closest we’ve been to ourselves.'

'Safe Distance' explores queer Chinese individuals’ lived experiences and narratives in the UK under COVID-19 pandemic."

"I took this photo because I want to show everyone that love is beautiful. Our film celebrates queer people and our desire for a more compassionate world. We believe that diversity makes us better and stronger."

"I shot this during Lunar New Year in SOHO when I started filming Safe Distance. When we researched the history of racism and homophobia, we found most racism and LGBTQ+ hate crimes in the UK and US happen in Chinatown and gay bars.

The documentary was born out of community urgency, and we invite you to co-construct a society that embodies kindness and empathy with people from all walks of life."

"This collage is part of the animation for the documentary 安全距離 (Safe Distance), which compares the HIV pandemic in the 1980s to the COVID-19 pandemic. We would like to remind people of the history of ostracization and discrimination against the queer community. We hope to ignite passion and enthusiasm in people to be part of something that contributes to solidarity and humanity."

"Fluorite Alright was created in response to effects that deforestation and the wider carbon footprint of mankind are having on our wildlife, featuring photographs I captured in Hong Kong in 2016."

"Rose Quartz was originally created as a Valentine’s gift to a lover — featuring photography of the stone I used to manifest said lover. Choosing to share what was once an intimate exchange in an attempt to spread the love manifest as far and wide as possible."

"I need not an aeroplane of strangers and a hotel room’s dodgy air-con to bring the four corners of my mind to the surface. I form cultures of my own from my soul and travel miles in the premise of my own bones.” Travel The Earth is an exploration of what it means to go on a journey without having need to step foot outside of yourself.”

"3 of Swords is a collaged watercolour and acrylic painting inspired by the original iconography of the 3 of Swords tarot card, which traditionally symbolises heartbreak."

"Inspired by Anna Biller’s 2016 technicolour melodrama, The Love Witch, Elaine is a love potion of my own. A compilation of ritualism that makes up my own sickly spell."

"Made in March 2021, originally as pages of a zine, to raise money for Sisters Uncut. Other prints exist on A5 card and zines which were printed at home as part of the fundraiser, these are the only giclee ones that exist. 50% of proceeds will be donated to Sister's Uncut."

"Made in March 2021, originally as pages of a zine, to raise money for Sisters Uncut. Other prints exist on A5 card and zines which were printed at home as part of the fundraiser, these are the only giclee ones that exist. 50% of proceeds will be donated to Sister's Uncut."

"Made in March 2021, originally as pages of a zine, to raise money for Sisters Uncut. Other prints exist on A5 card and zines which were printed at home as part of the fundraiser, these are the only giclee ones that exist. 50% of proceeds will be donated to Sister's Uncut."

"My practice draws heavily upon themes of nature and memory to create dreamlike images, creating prints inspired by places from childhood memories that connect me to nature.

This print, in particular, is based on a place I visited frequently when I was younger, and I still visit to this day, called Elterwater in the Lake District. I spent a day exploring the area, collecting bits of nature and what captured my attention most was a pile of skeleton leaves hiding under a tree, which I took back to the studio to create a series of Cyanotype prints. I usually create prints by adding layers upon layers, but I wanted the viewer's attention to be drawn solely to the beauty and delicacy of the leaves, so I took a simpler approach. Whist inspired by the colours of a sunset sky; I manipulated the Cyanotype print in photoshop software to create a whole new print exclusive to Shiver Gallery."

"My practice draws heavily upon themes of nature and memory to create dreamlike images, creating prints inspired by places from childhood memories that connect me to nature.

This print, in particular, is based on a place I visited frequently when I was younger, and I still visit to this day, called Elterwater in the Lake District. I spent a day exploring the area, collecting bits of nature and what captured my attention most was a pile of skeleton leaves hiding under a tree. I took the leaves to my studio and started to create toned Cyanotype prints from them. I always feel inspired in my studio space when I bring the nature inside to make work. The areas where I created a dripping effect have recreated the forest area where I spent the day exploring. I then photographed the print and manipulated it in photoshop software to create a whole new atmosphere."

"My practice draws heavily upon themes of nature and memory to create dreamlike images, creating prints inspired by places from childhood memories that connect me to nature.

I became inspired by the idea of producing photographic images without the use of a camera, by creating a series of photograms. I went on a walk around Lake Windermere in the Lake District, as it is a place that holds a lot of valuable memories from my childhood. As I was exploring the area, I collected leaves and seed heads and other bits of nature that caught my attention. I then made a series of photograms from these objects back in my studio space. Then when we went into lockdown, I found myself in a situation where I did not have the equipment to carry on making photograms. To stay creative, I began to scan in the photograms I had previously made and manipulated them in photoshop software to create new and exciting prints."

"My practice draws heavily upon themes of nature and memory to create dreamlike images, creating prints inspired by places from childhood memories that connect me to nature. This print, in particular, was created during lockdown when I was struggling creatively but also in general like many other people have been during these unprecedented times. I found myself looking back on previous work and reflecting on the memories they brought of a calmer and safer time. I decided to take these previous works and create a whole new body of prints, by manipulating and layering them in photoshop, creating a fresh perspective. This is the first time I have made a print digitally, however; they are based off original handmade Cyanotype prints."

"My practice draws heavily upon themes of nature and memory to create dreamlike images that reconnect the observer with nature. I explore these themes using digital and alternative photographic processes. I often visit places that hold a great connection to me, places from childhood memories that connect me to nature.

This print in particular is based on a place I visited frequently called Bolton Abbey. The immediacy that comes with digital photography allows me to capture a moment I experience and as I wondered on my walk, I searched for areas of interest to take a photograph. I then took these images and developed them through Cyanotype processes, toning and layering them to create a dreamlike print. This print is very personal to me and I am hoping that the imagery will conjure memories and a sense of place for the viewer."

"My practice draws heavily upon themes of nature and memory to create dreamlike images, creating prints inspired by places from childhood memories that connect me to nature. I became inspired by the idea of producing photographic images without the use of a camera, by creating a series of photograms. I went on a walk around Lake Windermere in the Lake District, as it is a place that holds a lot of valuable memories from my childhood. As I was exploring the area, I collected leaves and seed heads and other bits of nature that caught my attention. I then made a series of photograms from these objects back in my studio space. Then when we went into lockdown, I found myself in a situation where I did not have the equipment to carry on making photograms. To stay creative, I began to scan in the photograms I had previously made and manipulated them in photoshop software to create new and exciting prints."