Return to Work
Exhibitions
Ouroboros
‘Fairies by Yon’ - Stockport (April 2026)
Curated by Sophie Mia Crook.
In early 2026, I assisted with the curation and promotion of this exhibition.
‘Fairies by Yon’ centred on folklore and spring rebirth.
My work, Ouroboros, explored cycles of life and death through a spiralling form, presented within an altar installation that framed the image as a site of repetition and renewal.
I developed a 3D modelled frame for Ouroboros that merges bone-like structures with octopus tentacles. The form wraps around the image, suggesting growth and decay at once, extending the work into a sculptural, bodily presence that reinforces its cyclical and organic themes.
Altar installation, 3D print, risograph illustration, bones, orbeez, beads, seashells, teeth, ceramic elements, laser cut charms, glass and black candles.
My work, Ouroboros, explored cycles of life and death through a spiralling form, presented within an altar installation that framed the image as a site of repetition and renewal.
I developed a 3D modelled frame for Ouroboros that merges bone-like structures with octopus tentacles. The form wraps around the image, suggesting growth and decay at once, extending the work into a sculptural, bodily presence that reinforces its cyclical and organic themes.
Altar installation, 3D print, risograph illustration, bones, orbeez, beads, seashells, teeth, ceramic elements, laser cut charms, glass and black candles.
‘I wish you were here’ for Roots and Ruins
PINK, Stockport
Joint Exhibition by NDELAP + GLOAMING Creative
Roots and Ruins was a celebration of local landscapes and radical creativity.
I exhibited a large cyanotype textile piece with acetate prints, metal chains, wire and metallic paper.
The piece draws on non-linear memory and the former industrial district system in Washington, Tyne and Wear, where numbered zones replaced traditional village identities. Archival and personal images of the street I grew up on are fragmented and suspended across the surface, disrupting a fixed sense of place.
Through its materials and structure, the work reflects on memory as unstable and disjointed. The hanging elements and repeated text create a sense of distance and longing, positioning the landscape as something partially lost, reconstructed, and continually shifting.
The installation extended onto the floor, where additional images were scattered beneath, disrupting any clear hierarchy or fixed viewpoint. This gesture reflects a sense of loss and dislocation in my relationship to memory, particularly my inability to fully recall a place that shaped my formative years.
‘I wish you were here’ turns to visual cues as a way of reassembling these gaps, creating new, speculative versions of place where absence becomes the material.
All Images by Pippa Wilson
I exhibited a large cyanotype textile piece with acetate prints, metal chains, wire and metallic paper.
The piece draws on non-linear memory and the former industrial district system in Washington, Tyne and Wear, where numbered zones replaced traditional village identities. Archival and personal images of the street I grew up on are fragmented and suspended across the surface, disrupting a fixed sense of place.
Through its materials and structure, the work reflects on memory as unstable and disjointed. The hanging elements and repeated text create a sense of distance and longing, positioning the landscape as something partially lost, reconstructed, and continually shifting.
The installation extended onto the floor, where additional images were scattered beneath, disrupting any clear hierarchy or fixed viewpoint. This gesture reflects a sense of loss and dislocation in my relationship to memory, particularly my inability to fully recall a place that shaped my formative years.
‘I wish you were here’ turns to visual cues as a way of reassembling these gaps, creating new, speculative versions of place where absence becomes the material.
All Images by Pippa Wilson