11-23 February 2020

Sprout Arts 

74 Moyser Rd, London, SW16 6SQ


Charcoal on Panel

51 x 61 cm

CHAIR |, CHAIR || 2020  

Digital Photographic Collage

42 x 59 cm

The exhibition was held at Sprout Arts, a self founding art gallery that supports local artists by exhibiting and selling work. The centre encourages the local community to take interest in the arts, promoting participation through the organisation of exhibitions and workshops. 


Ten Degrees Plus was organised by Fio Adamson, fellow MFA student and volunteer of the community arts space.

The title of the exhibition echoed the number of artists that took part, from the Wimbledon MFA group. We promoted the exhibition, by distributing posters in local spaces, in university and on social media. The gallery space was small but offered the potential for a more intimate, contemplative experience of the work exhibited. Visitors had the opportunity to connect to the work and the artists, during the private view and throughout the course of the exhibition.

Although this exhibition did not celebrate a specific theme, the work was presented well and the audience responded to the juxtaposition of materials and mediums. This exhibition provided a real-world context; I was involved in the planning and decision making, hence, I developed my collaboration and organisational skills, particularly during the process of curating the show.  During the opening and the invigilation of the space, I had the opportunity to strengthen my interpersonal skills and connect to the audience by providing them with insight into my work. I decided to showcase A Reminder (2019), along with Chair | and Char || (2020). Through many conversations on themes of womanhood and the domestic, I observed how my work elicited rich and meaningful responses from visitors.


6-9 December 2020

Platform Soutwark 

1 Joan St, London, SE1 8BS



Oil on Aluminium

35 x 45 cm

Emergency Art was held at Platform Southwark, a contemporary art gallery located in Waterloo. The building is a creative space which supports emerging practitioners and promotes participation in the arts. During the installation process, I had the opportunity to visit Sean Rohr's studio, located in the building. Rohr is the co-founder of Platform Southwark, he is also an artist and used to be my life drawing tutor at London College of Fashion. The exhibition was organised and curated by Galina Hristova, a fellow MFA student. The title of the exhibition reflects the exploration of social themes and issues related to the human condition. The theme of the exhibition was flexible enough to allow each artist the freedom to express their own concepts and ideas while offering the audience a wide variety of work. 

 I had the chance to develop my communication and teamworking skills through the curation and installation of the work. Being part of a multidisciplinary exhibition supported my understanding on how to professionally navigate the art world, developing conceptual and critical thinking to solve problems


7-10 November 2019

The Crypt Gallery

165 Euston Rd, London, NW1 2BA

Immurement was presented by Wimbledon MFA students, the exhibition was held at the Crypt Gallery, located at the St. Pancras Church, London. Artists were required to produce site-specific pieces that responded to the location, together with the concept and title which were set by the research team. In preparation for the exhibition, tasks and efforts were divided into groups. I decided to be part of the curation team, led by Galina Hristova, in the interest of gaining a better understanding of the curation process, and to have the firsthand experience of organising an exhibition.

We organised meetings in and outside the exhibition space, focusing on the different aspects of curation along with the logistics of hanging an exhibition in a crypt. As part of the curation team, I was in charge of the design for the information panel that introduced the exhibition to visitors as they entered the exhibition space. I began with research on the dictionary definition of Immurement, which derives from Latin im-"in" and murus "wall", in essence, it defines a form of imprisonment and seclusion in a place with no exits.


Immurement was a memorable event as it was my very first show outside UAL. The exhibition supported my understanding of curation and art criticism; ultimately, I took pride in the joint effort and the harmonious collaboration between the works exhibited. I embraced the opportunity to showcase my work and present it to the public while improving my collaborative, organisational and research skills.

Although the theme set bounds to my practice, it gave enough space for each artist to produce a unique piece of work. Throughout the process of creating the work, I researched notions of confinement, immuration and isolation, whilst pursuing ideas on death and the unconscious, which were inspired by my relationship with the space and the enigmatical image of the Crypt.


Oil on Aluminium

46 x 61 cm


Benighted stands for overtaken by darkness.

During our visits, I spent time observing the interior of the crypt, the floor was muddy and covered by reeds, the brick walls displayed textures and reddish hues, the shapes of the chambers made the crypt the ideal place to house our first offsite group exhibition.

The Crypt is an underground space, a private place, hence, hidden meanings are present in my work.

A series of paintings from Caravaggio to John Everett Millais and Dante Gabriel Rossetti informed my work. Benighted depicts a space with no exits, a ladder defines the corner of the enclosed room where a figure appears to be confined. A dim red hue envelops the entire scene, the red evokes, an inflamed desire for a life left behind. The figure is upheld by the ladder, a broken emblem of freedom, the last object touched by sunlight. A wooden table leads the viewer's gaze through symbolic elements: a cat, a pomegranate and reeds. Reed is symbolic of evil in folklore, the reeds envelop the ladder and the cat's paws, representing death, poison and punishment.

A cat is passively laying of the table, the pomegranates are open, juicy but rotten.



18-19 March 2019

Chelsea College of Arts

16 John Islip St, London, SW1P 4JU

The title, One Night Stand, is suggestive of the duration of the exhibition, held in March 2019 at Chelsea College of Art. Students from Wimbledon MFA swapped gallery spaces with the Chelsea MFA course, in favour of twenty-four hours of spacial experimentation. While the Chelsea students were able to engage with the Coco room and Corridor space at Wimbledon College of Art, we had the chance to exhibit work at the Cookhouse Gallery, a gallery space just across Tate Britain.


I was pleasantly surprised by the size of the location. In reality, the wall space was abundant, issues emerged from the lack of work due to a few last-minute withdrawals. In just one day,  my peers and I managed to adapt the work to the space provided. I showed Growing Engine, Solitary Binge, in two different rooms, in order to permeate the space and to offer the viewer the opportunity to observe the pieces individually. 

The curation process was indeed a challenge, ultimately, aided my problem-solving capabilities and my teamwork skills


Oil on Aluminium

31 x 31 cm


Charcoal on Panel

21 x 61 cm