麻豆传媒

I am an art historian and independent curator whose research and exhibitions often begin from acts of critical revisitation – whether of defining cultural texts or exhibition histories – and open onto new social possibilities. Across photography, time-based media and performance histories, I think about how images and ephemera circulate, function referentially and accrue power within intergenerational queer, trans and feminist contexts and anti-colonial movements of self-determination.

I received my PhD from UCL in 2022. My doctoral research explored the intersection of feminist, queer and ecological cultural politics and artistic strategies from the acceleration of the contemporary environmental movement in the 1970s through to the early 2000s, showing how these artists innovated conceptual practices through the contingencies of their social identities and ecological awareness. I hold a BA in fine art from Norwich University of the Arts and an MA in Contemporary Art Theory from Goldsmiths, University of London. As a result of this trajectory, I am interested in art history as an interdisciplinary arena of study, cross-reading historical forms across scholarly and artistic research and practice.

My Leverhulme-funded research project, Timely Grammars: The Trans Contemporary between Art and the Archive (2026-29) explores how trans social history is reconstituted through artistic practice. The project considers how the remixing and reuse of existing material (including from state archives and libraries, tabloid press, as well as the work of other artists) has spurred formally innovative and politically vital imaginaries, complicating their derivation while building a haptic and intellectual grammar for trans life and being in the UK and beyond. My research has been supported by the Arts and Humanities Research Council, Terra Foundation for American Art, the Paul Mellon Centre and the Leverhulme Trust (2026-29).

I am currently part of the curatorial team that realised Koyo Kouoh’s , Venice, which is open through 22 November 2026. Prior to this, I co-curated at Deichtorhallen Hamburg–Halle für aktuelle Kunst (2022), was guest curator at Country SALTS in Bennwil, Switzerland (2020) and formed part of the curatorial unit for , an exhibition conceived in response to the collections of the Carnegie Museum of Art and Museum of Natural History for the 57th Carnegie International, Pittsburgh (2018-19). I have also curated programmes for the Paul Mellon Centre, London; CCA Glasgow; the Swiss Pavilion at the 57th Biennale di Venezia and 1:54 FORUM (London and New York, 2013-17), among others.

My writing has appeared in Camera Austria (Karimah Ashadu), Sculpture Journal (David Wojnarowicz), Another Gaze (Barbara Hammer), LUX (Michelle Williams Gamaker) and Art21 (David Brooks, Michael Wang), and in artist books published by Modern Art Oxford (Frieda Toranzo Jaeger) and Copenhagen Contemporary (Claudia Comte). Through 2021-22 I was commissioning editor for Allegories of the Visible, a digital journal for writing on photography and visual culture, and co-editor of Lucid Knowledge: On the Currency of the Photographic Image (Hatje Cantz, 2022).

I have taught courses on performance and participatory art, moving image, the reinterpretation of archives, art and ecology, as well as feminist, queer and trans methods and theory in art history at UCL (2023-25), the Courtauld (2024-25), the Slade (2020-21) and University of York (2018-19).