Posts tagged Woman
Dream Inspired Collage by Emma Rodriguez

My name is Emma Rodriguez aka MOONCRAB ART. I'm from Bristol, England. I went to University a few years ago and graduated from Drawing and Print Making, I really enjoyed using digital means to make work and made a lot of landscape-based work, but my tutors weren't really into the collage work I was doing, so I found myself making work they wanted instead of what I wanted. Now that I have the freedom to make what I like, I've carried on where I left off with my collage work. I make it as a means of escape where I create worlds and a universe that help take people to another place.


I'm inspired by my own ups and downs because that's when I want to escape the most, that's when I want to create something that helps me get away, but I'm also inspired by things I see and dream of and surround myself by. It is a massive achievement for myself to know that my work helps and inspires other people, I have had people message me saying that my work has helped them get through tough times and has healed them in a certain way, and that to me is more important than anything and the reason why I create my work.

Paper, Silk, and Brass Sculptures About Nature by Juliette Sallin


I am a visual artist who has always been fascinated by the way we perceive and remember the landscape through our senses. I translate this interest into sculptures made of paper, silk, brass and other materials. I select them for their ability to transcribe the beauty of the elements with their shapes and colours of course, but also for their tactile qualities.

Enlightened by my own experiences of Nature, by the non-dualistic oriental philosophies, the phenomenological philosophy of Merleau-Ponty, and the environmental writings of David Abram, I perceive our inner plenitude as a communion with Nature and the elements.

During the process, I borrow various crafts’ techniques, such as embroidery, silk dyeing, paper decoupage and metal forming. By assimilating these gestures in my artistic practice, I get closer to a form of humbleness and sincerity, where patience and mastery of the mind help me to get closer to my subject and to recreate, in a subjective way, the sensations I experienced in a brief moment of fullness. 


Born in 1980 in Geneva, Switzerland, Juliette Sallin studied textile design at the University of Florence, new media at the HEAD Geneva and Kingston University (GB). Two-time recipient of the swiss Ikea Foundation (2009 and 2013), Juliette has exhibited in Switzerland and Great Britain.  Her work is held in private collections in Europe and north America.

Intuitive Oil Paintings by Lorna Scheepers

Lorna Scheepers is a South African artist who followed her heart to America and is now living and working in Chicago, USA.
Born and raised in South Africa, she embraced art as an adult, enrolling in her first art class at age 27 and completed her art education at the Open Window Art Academy in Pretoria, South Africa, under some of the best and well-known artists on the South African art scene.


Although not obvious, her art is always deeply personal. She began painting as a means of dealing with personal trauma. Her dream of pursuing art was put on hold when she went through a divorce in 1996 and instead had a successful career in corporate marketing. As a single mother, she focused on her career in the years that followed and only painted as a release or when commissioned. Twenty years later, she is finally doing what she loves and enjoys most.




My creativity begins with an appreciation for the beauty in every day, often reflecting my emotions and memories and interwoven with more idyllic and imagined elements of the environment. Colour and pattern informs my practice and visually recollects memories of time and place.


I am fascinated by the dividing line between fact and fantasy, and the lingering imprint it has on our lives. I draw inspiration from my experience of living in between countries and continents, exploring ideas of socialization and one’s sense of belonging within a place. 


The presence of birds and other creatures are often a symbolic overtone with reference to where I find myself. It is a place of self-healing and transformation.


My oil paintings are intuitive and I seldom have a clear concept of what the end result will look like. The process keeps me moving forward.   


So many artist and tutors have been impressionable upon me along my journey as an artist and my list of painterly influences includes Odilon Redon, Joseph Stella, Gustav Klimt and Franz Marc to name but a few.


I paint from my heart, and it is imperative for me to remain integral to my own voice. My art reflects my current state of self, but it has no singular meaning. I believe that to assume that, is as assuming that every person experiences the world in the same way.


Studio Sunday: Molly Mansfield

This week’s Studio Sunday feature highlights the work of artist Molly Mansfield. We’re so excited to be bringing you a closer look at her paintings and best tips for maintaining a creative practice. Read her interview below and then check out her two beautiful and affordable pieces that are currently available online with PxP Contemporary!


I live in small town Texas with my husband and two little boys. Working with watercolor, gouache, and oil paints, I use handmade pigments that are mined from the earth's minerals.

My childhood days were spent playing amongst the leaves in the nursery owned by my parents and running barefooted and wild on my grandfather's property. Nature and particularly plants have played an important role in helping me to cope with anxiety. Now as a mother, thinking about my children, I value its role even more. When encountering nature, so many feelings are elicited. There is the excitement of spotting a rare bird, the wonder of a spiders web, an overwhelming sense of peace when standing at the water's edge, and even fear when met face to face with a coyote. Nowhere than in nature are the senses so stimulated.

The fury of our fast-paced, productivity driven, consumer culture is often overwhelming and anxiety-inducing. I regularly feel the struggle to counter these pressures in my life and work.


My paintings are impressions of experiences. Abstractions of a memory seeking to speak to the benefits of interacting with the natural world. Nature beckons us to take time out of our busy schedules to pause and take in the beauty. I want my paintings to reflect that sentiment. My process is measured and intentional. There is a lot of looking and soaking in the experience. Each brush stroke is carefully placed to describe the feeling that I am trying to create. My hope is that when you look at my artwork you are compelled to slow down, maybe take a deep breath, enjoy something beautiful, and engage with the present moment.

When did you first become interested in art and what drew you to painting?

Like most young children I was always making and inventing things. My mom was always coming up with some new creative project for me to work on from bead making to sewing and knitting to designing container gardens. I loved the opportunity to explore and certainly benefitted from being able to look at art making through different viewpoints via playing with different mediums. Painting has always been there though, and it has always had my heart. It was elevated in my mind as a child by a few images I had seen of Van Gogh’s work, a thin paperback portfolio of Cezanne that we owned, and receiving postcards in the mail from my aunt, Jennifer Young who is a painter. This modest collection of paintings I had access to, was devoured by me. Every color and brushstroke becoming ingrained in my mind. But every time I came back to the paintings an overwhelming feeling came over me, the energy moved me, I was taken far far away from my present situation to something magical that I had never experienced before. The paintings couldn’t be memorized. The process of making a painting is very feeling oriented as well. I love the experience of guiding, sliding the creamy buttery paint across the canvas. I turn music on, my whole body is moving, I’m not thinking about what I’m doing I just know I can’t stop. I keep laying down brushstrokes boldly side by side, alone they are blocks of color but together they become something recognizable. Something that has meant so much to me and I hope becomes meaningful for the viewer.

Can you tell us a little about the inspiration behind your work and the series (or multiple bodies of work) that you are focusing on at the moment?

Imagine driving down a well trodden road, but you still can’t keep your eyes off the landscape. A line of cars builds up behind you , but you are struck with overwhelming beauty of whats in front. The grey stormy skies, the saturation of the well watered layers of fields. There is something new and exciting about the view and yet something familiar.

We moved out of Austin last summer to a small town near my hometown. It was an unusually rainy and cloudy fall for Texas. I was struck driving the road, FM 973, that connects my small town to Austin by the rolling green hills and grey skies. The landscape that you can see from this road is so striking because it is slightly higher elevation and open farmland with layers and layers of fields and crops leading up to the horizon line. I knew that I had to paint these views and I wanted to, focus on movement, shapes, and feeling, over details.

The collection, “Views From 973” is inspired by memories. Abstract & Fluid. Moments running into each other. Not about the fine details but about the feeling and emotion of the experience. Though these landscapes are inspired by a particular place, it makes sense that one might remind you of your own adventures. That’s when it becomes about human connection. Something that started as part of my own story, but then becomes yours.

This body of work has been the most intuitive work I have ever done. I look at so many of the pieces in this collection and think, “how did I even do that?!” The Brushstrokes, compositions, colors, none of it was planned really. I went into it with a feeling that I wanted to express and then let the process take over. This is work that I felt Inside of me and I knew I had to create.


Describe your current studio space. What is most important for keeping a consistent creative practice?

My studio sometimes is the kitchen table, sometimes my bedroom dresser, and always most of the closets in our house (for storage, not for painting in, LOL). I am beginning to long for a more permanent space to create in, but honestly working out of my home has served me well. I’ve been painting (almost) every day for the past five years. Most of that happens in the evenings after my kids are in bed and I clean up my mess, packing everything back into closets when I’m done. I am very energized to work in the evenings, however homebody that I am, it is the last time of day that I want to leave my house. I have loved creating in the center of my home near the energy of my family and the comfort of my tea kettle.

Here are a few things that have really helped me in having a consistent creative practice.

1) Just start making. Its that simple. If you can, organize your day so that you are creating at the same time. Pay attention to what times of day you have the most creative energy, are you a morning person or a night owl? There may be times in the beginning when you don’t feel like making anything but just keep showing up, eventually the muse will show up too. After a couple of months of coming to the studio consistently you will have a habit, and after that I think it is pretty easy. I did a 100 day project 5 years ago and I’ve been painting nearly every day since, it’s just what I do and I love it.

2) Remove distractions. A few years back we got rid of our TV. Relaxation and enjoyment are good things, but for me Netflix was taking over my life, I felt like I wasn’t in control of how I spent my time. This was the best decision ever because while vegging can feel nourishing in the moment because it is passive, painting is what FEEDS MY SOUL.

3) Make your workspace comfortable. Do what you can to make your space not only where you want to be, but a place where you feel relaxed and able to let the creativity flow out of you. I once had a studio with no air conditioning in the summer in Texas. I did make work there but there was no lingering with delight over the process. You know I got out of there as soon as I could call the piece done! Recently I have been making work out of my home. It’s not glamorous. I could’ve rented a studio but home is just the only place I want to be at the end of the day (when I paint).

What is your favorite thing about being an artist?

Freedom! I get to be with my kids, make art and have a business. I get to make my own schedule. I don’t like people telling me what to do, LOL. I am allowed to follow my interest, passion, and muse. Making art isn’t all lollipops and fluffy clouds, sometimes there’s a wrestling that has to happen. Communicating what’s in my head, a thought or a concept into something visual on the canvas is hard work. There are so many ideas and in a way each one is a problem to be solved. Thinking, trying, thinking again. Once something clicks the work just starts coming out and I just have to keep up. The best word I can think of to describe this feeling when the idea is out and on canvas, is freedom. Sigh. Now I am ready to start on the next idea. ;)


Name a few artists whose work has had an impact on you.

Pastmasters: Cezanne, Van Gogh, John Singer Sargent. Contemporaries: Jennifer Young and Richard Claremont.

Are there any exciting exhibitions, projects, or collaborations going on this year that you’re currently working on or will be soon?

Oh yes! I have just barely started making work for my first solo show here in Austin at Revelry in September! I am soooo excited about this body of work exploring a slightly different landscape than my last collection, of plants and our relationships with them. It is work that I have been thinking about for a long time and I feel like I’m finally ready to get it out and put it on the canvas. Of course I’m very excited about the show too!

Create! Magazine x Art Girl Rising Collaboration

THEY ARE FINALLY HERE! We’re so excited to bring you a side project that we’ve been working on for a few months with Liezel Strauss, founder of Art Girl Rising. You’ve likely seen us sharing our obsession with her now Insta-famous t-shirts that each list a set of five iconic women artists. We couldn’t resist being a part of her incredible project to support the National Museum of Women in the Arts as well as their #5womenartists campaign so we created a special edition t-shirt (in gray & pink) with five women artists who we love. A portion of the proceeds from each shirt sold will be donated to the museum. As an all female team, we here at Create! Magazine want to do the most that we can to both provide more opportunities for contemporary women artists and also to be educators and champions for all of the women in the art world today!

You can purchase these special edition shirts directly from our webshop! *We only made a limited amount of them so make sure to get yours before they sell out.

Learn more about Art Girl Rising in an interview with Liezel from our 2018 Miami Edition.

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Who are Hilma, Mickalene, Marina, Shirin, and Judy?


When Swedish artist Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world. It was years before Kandinsky, Malevich, Mondrian, and others would take similar strides to rid their own artwork of representational content. Yet while many of her contemporaries published manifestos and exhibited widely, af Klint kept her paintings largely private. She rarely exhibited them and, convinced the world was not yet ready to understand her work, stipulated that it not be shown for twenty years following her death. Ultimately, her work was all but unseen until 1986, and only over the subsequent three decades has it begun to receive serious attention.

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Mickalene Thomas, who lives and works in Brooklyn, New York, is best known for her elaborate paintings composed of rhinestones, acrylic and enamel. She draws on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense-of-self are informed by the ways women (and “feminine” spaces) are represented in art and popular culture.

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Marina Abramović, born November 30, 1946, is a Serbian performance artist, writer, and art filmmaker. Her work explores body art, endurance art and feminist art, the relationship between performer and audience, the limits of the body, and the possibilities of the mind. Being active for over four decades, Abramović refers to herself as the "grandmother of performance art". She pioneered a new notion of identity by bringing in the participation of observers, focusing on "confronting pain, blood, and physical limits of the body".

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Shirin Neshat is a contemporary Iranian artist best known for films such as Rapture (1999), which explore the relationship between women and the religious and cultural value systems of Islam. Born on March 26, 1957 in Qazin, Iran, she left to study in the United States at the University of California at Berkeley before her the Iranian Revolution in 1979. While her early photographs were overtly political, her film narratives tend to be more abstract, focusing around themes of gender, identity, and society. The split-screened video Turbulent (1998) won Neshat the First International Prize at the Venice Biennale in 1999.

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Born July 20, 1939 in Chicago, IL, Judy Chicago is an artist, author, feminist, educator, and intellectual whose career now spans five decades. In 1974, Chicago turned her attention to the subject of women’s history to create her most well-known work, The Dinner Party, which was executed between 1974 and 1979 with the participation of hundreds of volunteers. This monumental multimedia project, a symbolic history of women in Western Civilization, has been seen by more than one million viewers during its sixteen exhibitions held at venues spanning six countries.

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Rachel Gregor

Rachel Gregor is a fine artist currently living and working in Kansas City, MO. She graduated from Kansas City Art Institute in 2012 and has studied abroad at Studio Art Centers International in Florence, Italy. Born and raised in Minnesota where her parents own and operate a farm and greenhouse, floral motifs are a constant present throughout her drawings and paintings.

In her work, Gregor seeks to create psychological portraits of young girls caught between an awkward tension of girlhood and womanhood, innocence and sexuality. Depicted in oil, the figures are painted in a naturalistic manner but tiptoe between the line of realism and artificiality. The figures are caught in a single moment between the mundane and the melodramatic. Wide-eyed and wistful, the girls become frozen in a state somewhere between boredom and shock. The spaces can become completely ambiguous, and through patterned wallpaper or a crocheted blanket, only suggest an idea of a setting while retaining a strong sense of nostalgia.

Evgenia Medvedeva

I am a Russian-born and U.K.-based artist and womenswear designer. I started drawing a year ago when I moved to London to do the fashion course. Ever since, drawing has been a kind of a meditation to me. When I started, I would take a fine liner and draw numerous lines, just following my feelings and a current state of mind and body. Then, it naturally turned into my signature style, along with random watercolor blurs on photographs. I am inspired by vibes and energy exchanges I get throughout a day. If I like it, I translate it through doodling or acrylic ink, which I put on top of a picture that better resonates with a moment. What I really like about my work is tiny details, a contrast of colors, textures, shapes, and the somewhat tribal feeling that it gives. My works tell different stories and leave room for a viewer's interpretation. It's indirect, not obvious. I like it.

"Mago" Solo Exhibition by Stella Im Hultberg

Spoke SF is pleased to present Mago, a solo exhibition featuring new work by Portland- based painter and illustrator Stella Im Hultberg. The artist’s second solo exhibition with Spoke includes paintings and drawings exploring her Korean heritage and traditional folk stories.

Inspired by Korean myths and the artist’s experiences with motherhood, Hultberg has created an ethereal body of new work. According to Korean mythology Mago is the mother of mothers and the root of creation. Her daughters, the goddesses So-hee and Gung-hee birthed humanity. The artist explores her changing role both as daughter and mother, interweaving personal icons like the peony, representational of her mother, with her own interpretation of folklore.

Continuing her exploration of the figure and flora, Mago incorporates new elements such as traditional folk textiles and craft influences. Hultberg’s figures, positioned in dream-like and weightless landscapes, portray the duality of vulnerability and quiet strength. The Archer depicts a lone woman dressed in white amongst a field of blooming flowers holding a traditional gak-gung or horn bow “standing up to protect her people.” This specialized bow “when unstrung, would bend into a circle, making it very portable and light, and very resilient and elastic when strung up.” The artist describes the bow as a “metaphor for all the potential energy and strength harbored in people who seem small and insignificant and less powerful.” Mago the title painting for the exhibition (pictured above) depicts the namesake deity as the mother mountain with her daughters, charged with contemplation, life and potential.

Please join us for Mago, opening Thursday, August 31st, with an opening night reception from 6pm - 9pm where the artist will be present. The exhibition will be on view through Saturday, September 23rd. For more information or additional images, please email us at

Spoke Art I I I 816 Sutter St. San Francisco CA 94109


Stella Im Hultberg was born in South Korea, raised in Seoul, Hong Kong, Taiwan, and later in California. She studied Industrial Design and worked as a product designer before serendipitously falling into the art world in late 2005. Hultberg has exhibited extensively across the US, at the Warrington Museum in London, Above Second in Hong Kong, the Japanese American Museum in Los Angeles and more. After a decade in NYC, she now lives and works in Portland, OR with her daughter and husband.

Interview: Annique Delphine

Berlin based artist Annique Delphine uses her artwork as a tool to challenge the way society thinks about female identity and sexuality. Working in sculpture, photography, and installations, she creates confrontational and thought-provoking work that is powerfully feminine while embodying the strength in women. The breast can be found in much of her work, reclaiming the woman’s body, reversing its current role as commodity. We spoke to Delphine about her inspiration as an artist, her compelling body of work, and the important message behind each piece. 

What is your artistic background? Tell me about your creative process.

I studied photography at Neue Schule für Fotografie in Berlin and my initial goal was to be a fashion photographer and photojournalist. I worked as a music photographer for many years before realizing that all I really wanted to do was make my own art. For the past 6 years I have been exclusively creating fine art photography, experimental short films, installations, performances, and whatever other medium I can use to express myself. I work intuitively, often trying out new things and new practices without much of a plan. It’s usually try and fail and try and fail until I get it right. I have pictures in my head that I try to visualize. They are always somehow channeling what I’m currently feeling or struggling with. 


What inspired you to create a body of work focusing on female body politics and sexuality? What is your own experience in dealing with this?

Since everything I create reflects my own experiences and my point of view as a woman, my art has naturally taken on women’s issues.

My art is therapeutic to me. I’m trying to push back on the boundaries I still feel as a female artist. It’s a way to point a mirror to society so we can have a look at our status quo and imagine what the future might look like if we don’t intervene. I try to explore feminist issues in a playful way, but behind the cute little boobs in pastel colors drenched in ice cream, there is the thought of how disgusted I am with the ways in which women’s bodies are regarded as sexual play things/properties, commodities, and I am sometimes disgusted with how I objectify myself even. Internalized misogyny is also a big driving force of my work. 

How did you begin using the breast in your sculptural work?

I started with self-portraits, which were usually nude. The reactions were often polarizing. Some people (including one of my teachers in photography school) said the pictures were vulgar. They were never sexual though. They were just pictures of a woman (myself) without any or very few clothes on. That got me thinking: why is it so accepted for male artists to display the naked female body through painting, sculpture, photography, etc. but when a woman displays herself that way it’s vain, vulgar and unacceptable? 

Men can marvel at a woman’s beauty but women shall never do it themselves. We are held somewhere between “make yourself as attractive as possible” and “don’t ever believe in your own attractiveness.” It’s maddening. That conflict is what got me started as a feminist artists and then a few years ago I came across these breast-shaped stress balls in a novelty store. I bought a couple of boxes and started photographing them, making sculptures out of them, putting them in odd contexts. Then I thought, well what if I take them outside and confront people with them? So I started my project Girl Disruptive where I do guerrilla installations of breasts and flowers in public places. 

Tell me about your installation work. What do you hope will be gained through confronting viewers with an isolated part of the female body, one that is often both censored and exploited through the media?

I like to poke people, make them a bit uncomfortable by warping their reality so they might question some of the norms society has established for us. For instance, it’s completely normal to view breasts as an object. When we see advertising for fashion, beauty products, for beer, cars… whatever, we see a pair of breasts and, of course we know that they are a part of a woman’s body, but we have gotten so used to viewing them as ‘things.’ They are like a stand in symbol for sex. Female sexuality is used to drive capitalism, but it’s a very limited sexuality; one that caters to the straight male gaze. It has become ingrained in us that breasts and therefore female nipples are linked to sex. So a naked woman’s body is always associated with that even when it’s not displayed in a sexual context. 

I try to drive that point further by adding breasts into everyday pictures and expressing the way I experience objectification in a literal sense; breasts as deserts, breasts as alien spaceships, breasts as heads to replace a human mind, a woman’s personality and her agenda. 

A chair made out of breasts (referring to one of my sculptures) is funny and cute, but it also makes viewers uneasy because it questions it’s own purpose. May you sit on a chair made out of female body parts? How does that reflect the way women are treated? What are the different reasons someone might feel uncomfortable siting on a chair like that? What are the different reasons someone might have no hesitation sitting on this chair? 

Your series Objecitfy Me sheds light on important issues regarding women’s body as a commodity. Women are constantly reminded through everyday images that their body is an object; we as women are made to feel that our body doesn’t belong to us. How does this series work to reclaim the female body for women?

My work attempts to explain to people how we constantly feel like our bodies don’t belong to us. That we don’t understand how on one hand our bodies are a commodity and on the other hand it’s forbidden or harshly judged when women take charge of that commodity. Women are always judged for their bodies, for they sexuality and for any attempt at autonomy. By bringing these issues to light and starting dialogue with people—people who are unaware—I hope I can help us reclaim power. I am hoping to heal some of the wounds misogyny has inflicted upon us. 

In your work titled “Alien Nature,” the subject sports a large, single breast in place of her head. Do you feel that women’s bodies are seen as ‘the other’ and are often treated as such through regulation and control?

Yes that is exactly how I feel. It is as if everything to do with womanhood or femininity is alien to people and they feel threatened by it. My works Flying Object (Beverly Hills, CA) and Flying Object (Mohave Desert, CA) reflect this as well. I find it so absurd how a female nipple alone can be such a threatening thing. It goes back to female sexuality being viewed as something shameful, something that should be controlled. 


Earlier you mentioned your series Girl Disruptive. Can you tell me more about this series and the real life stories behind it?

Girl Disruptive is a photography and installation project where I seek out public places which are either frequented by a lot of people on a daily basis, or they are somehow connected to women’s struggles or a specific woman. I make these impromptu arrangements of flower petals and breasts. I photograph them and then I leave the scene and let people do with it whatever they want. I will post a picture of it to my social media account and then talk about how the installation is connected to gender-based violence or rape culture or misogyny in general. 

For instance, last year in LA I did one at the exact location where Elizabeth Short’s body was found. Elizabeth Short is better know as the “Black Dahlia” and was most likely raped and tortured before she was murdered. Her body was found mutilated and discarded on a road. In the aftermath, many untrue stories about her were spread by the media including accounts on how she used to work as a prostitute. Regardless of if it was true or not, this was linked to her murder as if prostitution somehow justified the attack on her. 

I did one recently in 3 different spots in Berlin that were all historically linked to one woman: Hedwig Porschütz. This was a woman who during World War II risked her own life many times over to save others from deportation by the Nazis. She hid people in her apartment for years, she helped smuggle food into concentration camps and was sent to prison for black market purchases of food. In her later life, she was very poor and applied for government assistance through a silent hero fund. This fund was started specifically for people like her; people who were prosecuted by fascist Germany for helping Jews. She was denied any financial assistance on the grounds of being a former prostitute. Her courage and selflessness were negated by what the 1960s government viewed as a “life of low morality.”  You would think things have changed by now, but it’s 2017 and slut-shaming is still a tool used to dehumanize women and justify violence and hate towards them. I use my installations to raise awareness of these injustices.

Having such an unapologetically strong female voice as an artist, what female artist inspires you the most?

I am hugely inspired by Sarah Lucas and Tracey Emin. They made me want to become an artist because they were the first women artists I was exposed to who were questioning gender roles and the way women artists are expected to express themselves.