My work is a response to surrealism, surveillance, systems, and the lives that slip through them.

I didn’t centre a single group. Instead, I looked for overlap - the shared textures of being othered, watched, misread, or reshaped. My hope was to highlight common ground while honouring the lives this system impacts most. If you’ve ever carried a mask or been seen the wrong way, Glitch might have whispered something to you.

Personally speaking ...

Leonora Carrington's work speaks to me, but it was only my involvement in this project which prompted me to dig deeper into her life, and that of her surrealist chosen family.

My research into their lives highlighted many of the themes that still resonate today: being the outsider, rejected from society, feared and forced to create a world which fits you.

I acknowledge my privilege as a white, cisgender, middle-class, able-bodied woman with access to education, housing, and creative autonomy.

Yes, I'm queer, neurodivergent, nearly 50 but I haven’t experienced systemic exclusion myself. However, I’ve become increasingly aware of how many people do, and how easily those experiences are dismissed or erased.

With Glitch, I’ve tried to use that awareness - and my position - to begin to amplify voices, challenge systems and create a space where people might feel recognised, remembered, or even just a little less alone.

How I made Glitch

Glitch is a scrollytelling experience made in software called Vev (it's cool - check it out).

But the process starts long before I start up my computer.

Many of the images featured in Glitch are manipulated photographs I have taken. Using Procreate software I tweak, glitch and collage elements together.

The handdrawn elements all emerged from my various sketchbooks. (you can see more of those on my Instagram.

Much of the animation work was done within Vev itself, but some were created in After Effects or Procreate and imported.