The King Is Naked is a sculptural parody of overused power, illusion, and obedience. The work reimagines Andersen’s fable inside an oversized 1980s floating pen, reframing it within today’s culture of spectacle, fear, and performed authority. The viewer activates the piece by physically engaging with it: tilting the pen causes the internal scene to slowly float away — the crowned, naked figure gradually disappears, replaced by a suited character, symbolising the display of political power.
The King is Naked
2025
Interactive sculpture
Acrylic tube, UV print, PLA, metal
80 x 70 x 12cm
Daily Catch exploring the invisible pressures embedded in everyday domestic life. It draws on themes of entrapment, duty, and gendered expectation—particularly the quiet, unpaid emotional labour placed on women across cultures and time.
The piece contrasts symbols of intimacy and tradition with objects of control: a ring set against a trap, framed by traces of kitchen labour. It reflects the subtle violence of inherited roles and the silent compromises woven into routine. Influenced by Silvia Federici’s "Wages for Housework" and Nancy Fraser’s analyses of social reproduction, the sculpture aims to expose how the private becomes political—and how care can be laced with constraint.
Daily catch
2024
Sculpture
food-stained kitchen tiles, engagement ring,
welded vintage trap
30 x 30 x 5 cm
Send it back
2025
Installation
Carton of eggs, stamp ink
Cover artist of the Ark Parrhesia magazine
V for Victory
2025
Sculpture
Jesmonite, PU foam, nonfunctional bullet
35 cm x 28cm x 16cm
You can scream. You can shout. You can tear your lungs out into the streets, into the algorithm, into pillows. The question remains: have you been heard?
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In a world saturated with speech — online, in the streets, across borders — this piece reflects how power no longer needs to silence.
It only needs to let us speak without listening.
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This work critiques contemporary power’s subtle manipulation of speech—allowing apparent openness while maintaining strict limits on actionable discourse. Referencing the iconic 1968 megaphone, a universal symbol of protest, this sculpture questions the effectiveness of modern-day collective action. Despite apparent platforms for expression (social media, public forums), voices protesting war crimes, genocide, or climate crises remain systematically unheard or dismissed. The megaphone thus becomes a symbol of silenced frustration, embodying the illusion of speech freedom that never translates into effective political change.
Have you been heard?
2025
1968 PYE Transhailer megaphone (modified), rope, metal
60cm x 45cm x 45cm
Fkn Gravity is a part of ongoing sculptural series, that explores the complex contradictions of femineity, especially as shaped by the social pressure, inherited roles and imposed identities.
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Fkn Gravity critiques societal invisibility and economic devaluation imposed upon aging women in various professional and cultural contexts. Gravity metaphorically symbolizes the relentless societal pressures pushing older women to the margins. Drawing from Simone de Beauvoir, "The Second Sex" and Silvia Federici, feminist critique, this sculpture interrogates inherited norms about aging femininity, highlighting that women become metaphorically "invisible" or "weightless" once perceived youthfulness or economic productivity wanes, resulting in their exclusion from contemporary visibility, representation, and decision-making roles.
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Fkn gravity
2025
Sculpture
Ceramic, glass, eco resin
25cm x 15cm x 15cm
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