she/her
I explore how nostalgia is carried within an object or a space, and I examine how memories fragment, shift, and slowly become lost over time. I construct environments where familiarity feels slightly unstable and the past is continually reinterpreted through the present. I am not interested in presenting memories in full. Instead, I focus on how they appear partially, distorted by time, emotion, and distance. Nostalgia, within my work, is unreliable and fluid. It is shaped by personal experience and by the act of remembering itself through the object. Everyday objects represent the act of remembering. They hold traces of lived experience, yet they also represent the absence and the passing of time.
Traces that Remain
Working primarily with moving image, projection, sound, and installation, I have created the work Traces that Remain. I invite participants to describe a nostalgic object or memory, filming my interpretation of the nostalgic object, filtered through my own sense of nostalgia. This act of interpreting nostalgia introduces distance and an absence of the original material object. The memory shifts as it passes through me. It becomes something slightly altered, distancing from the participant, audience and myself, creating a loss in translation. I am interested in this in-between space, where meaning slips and evolves, and the different ways that nostalgia is described through generations. The film is projected on to flowing, hung surfaces. Text appears in broken phrases, moving across materials and slipping in and out of view. Soft violin is playing, as my response to the stories told through the work. The projections never settle. The memories do not fully resolve; they exist as suspended moments, hovering between presence and absence.
I am interested in how nostalgia can live within ordinary objects, shifting in meaning from person to person, and how this attachment can carry both comfort and loss. Conversations about objects that reminded my Nan of my Grandad long after he died, something as simple as a mug, showed me how the past lingers quietly in the everyday, holding onto a physical vessel for memory.
Traces that Remain is a space where memory is experienced as fragile, fluid, and continually shifting, rather than something fixed or recoverable. Nostalgia within the work remains unresolved, existing in an in-between state where meaning slips, alters, and evolves over time. Within this instability, everyday objects operate as carriers of nostalgia, holding emotional traces of the past while simultaneously revealing gaps, absences, and the gradual loss of memory over time.
I completed a year in industry at Oracle, as the Creative Campaign Support Intern. I led and supported the end-to-end production of videos from storyboarding and filming to editing, using Adobe Premiere Pro and After Effects. I contributed to strategic messaging, content rebrands, and large-scale internal events, working cross-functionally with senior stakeholders and wider teams.
Beyond my core role, I led initiatives with Oracle Women’s Leadership (OWL), worked on the intern newsletter, pitched in the Industry Lab, and co-led Oracle’s first-ever virtual work experience for young women. A highlight was leading Oracle’s first internal art exhibition with Loughborough University. These skills from my placement helped me develop my practice for my final year of university.
