Works
In Progress
An Archaeology of Hope
An imagination of a post-human world inhabited by humanoid creatures excavating the detritus of cities and systems.
There are so many people here, I don't know how we'll ever get along
A contemplation of the various identities that live within us – not all of them fully realised, and not all of them fully wanted. This work has been developed in fulfilment of the Venice Fellowship Programme.
The Big Up
A 56-minute (11 parts) 2D animated series produced by The Big House, funded by the National Heritage Lottery Fund. This project was developed collaboratively with twelve young people in care, who were guided through archival research with the British Library, the Getty, and the University of Sheffield to find a global majority figure who has been overlooked by mainstream British history taught in schools. Each episode was developed collaboratively with the young person and the global majority figure they found inspiring through their research.
Maze
An ongoing series of moving-image works that contemplate identity and inequality. This series examines human society like a nature documentary – flipping the gaze on our very selves. These works attempt to represent how lineages of experiences are created over time and manifest in the present as various forms of inequality. The shift in the gaze allows me to show that, while we may take the societies that we built as solemn and absolute, they are in fact made-up, and somewhat silly. I use ridiculous looking 3D puppets animated with exaggerated childish movements to further accentuate how silly our societal rituals can be.
Spot the Human
A reverse Turing test, made before the proliferation of LLMs into our daily lives, looking at systemic and machine sentience through the lens of love as an experience.
Half-Mile Radius
Moving-image work engaging the local community around Lewisham station. This work tracks the environs and daily routes that locals take to reach the station, as it gets increasingly gentrified. By contrasting the gentrification with older parts, this film reflects concurrent anxieties about losing community.
The Algorithm Doesn't Like My Art, So Here's My Face Instead
Instagram's algorithm is excruciatingly anti-art. The algorithm is designed to boost faces more than anything else, which is frustrating when you only use it to share art. Using my own face, I created a series of images that keeps the basic structure of a face. But I altered the photos to see if I could trick the algorithm into boosting my art. It worked.
Stolen
A cheeky dig at the iconic portrait of Charles II of England and the rapid accumulation of things in the hat.
Scraper
Artistic project created and conceptualised by me, in collaboration with data scientist Shoili Pal, who is helping with execution and analysis. This project adapts the investigative outlet The Intercept's recently published datasets about media bias to interrogate linguistic and grammatical bias in Indian media coverage of sedition and terrorism, and violent crime since Independence. Looking at it decade by decade, it asks specifically who can and cannot be named a terrorist. This data is then plugged into image generation models that are asked to create an evolving portrait of what a terrorist might look like in the collective imagination.
Those Bastards
A moving image work problematising moral complicity in the climate crisis. Work in collaboration with senior climate researcher Cato Sandford.
Cerebral Circus
A 2D video game inspired by 90s circus posters in India. This game takes the shape of a circus ground with several characters. Clicking on each opens either looped animations or microgames with simple interactions. Each of these is designed as a metaphor to express the emotional realities of systemic disprivilege.
The studio in its current state.
These works are not ready —
that is the point of showing them.