Bus Shelter artwork outside Gloucester Road tube, London, February 2011

Created collaboratively with young people from the Ismaili Centre, commissioned by the London Transport Museum.

The project was themed around journeys. Calligraphy and zoomorphic imagery was used to create the final work. .

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If Wishes Were Birds - Wall drawing created with residents of Sceaux Gardens estate.

Initially intended as a visual metaphor that linked the seperate blocks around the estate, the wishing wall idea was developed during a six-month residency that forms part of the South London Gallery Making Play programme. During this residency I tested collaborative methods of creating narratives with local children and families around the estate. I was interested in using fiction as play, exploring how stories can be used as meeting places and a way of bringing the community together.

The wishing wall aimed to open paths of communication, allowing people to express their thoughts and feelings about their neighbourhood and the changes that are taking place. The creative process of building a wishing wall was aimed to provide a positive shared experience for the community. Making the wishes visible was a way of allowing further dialogues to emerge.

Bird shadow-puppet used for the final artwork.	Cardboard Wishing Bird made during the workshop.
Publicising the event In order to raise awareness and engage residents with the project, some of the gallery staff and myself dressed as wishing birds and collected wishes door-to-door, using this opportunity to meet neighbours and discuss the mural and their views about the local area. The wishes we collected were incorporated into the final artwork.

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Interprative Artwork for Museums Sheffield

A site-specific, interpretive artwork in response to the William Hogarth exhibition Industry and Idleness, made in collaboration with Museums Sheffield Youth Forum, following a series of workshops. (see workshops and residencies page). The final artwork is a snakes-and-ladders floor vinyl that combines drawings, motifs, sequential comic-strips and a mutli-choice questionairre made by different members of the Youth Forum, forming a polyphonic visual piece that complements the museum display and invites viewers to play in the gallery space and interact with the artwork.. March- May 2009, Graves Gallery, Museums Sheffield.

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The Big Draw - 'The World in a Gallery' A two-week participatory exhibition at the Apthorp gallery in which a large-scale drawing landscape turned the walls of the Apthorp gallery into pages of a colouring in book. Visitors were invited to continue the drawings and bring the landscape to life. Artsdepot October 2008

Crocodile City

Crocodile city on the final day of the exhibition

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The Lost Gods of England

A site-specific intervention based on the idea of lost gods, and the library as a place that links the present to other worlds.

Created in response to a brief set byRednile projects, who were looking to commission site-responsive works for the Literary and Philosophical Society in Newcastle, UK.

After typing in the word lost in the Literary and Philosophical Society catalogue, I discovered a book called The Lost Gods of England by Brian Branston. I was inspired to make a project themed around this book, but found that it was missing.

Instead, I proposed to create a project that reintroduces the missing book back into the library collection, and with it, the lost gods of England. As well as finding a copy of the book and donating it to the library, the pieceincluded mini-theatrical interventions in the space based on the pre-Christian gods of England that the book describes.

Brian Branston's book discusses how these gods were oblitarated out of public memory, and intentionally written out of history by the Church. Only faint traces of these heathen gods appear, mostly in place names, days of the week, and other fragmented evidence.

The main piece, I proposed to create is an image/relief made by turning rows of books the other way round.. Here a trace of a figure is superimposed onto text, deliberately shifting the bias of word over image, a reverse of power of the heather gods which were largely worshiped by an illiterate society.

Image in Shelf Using Reversed Books

The morning after receiving the commission, I went into my local second hand bookshop and found the missing book. It felt like a strange coincidence. One of the chapters in the book is about Wyrd- the goddess of fate and destiny, who at one time was revered as the supreme goddess in England. This project is dedicated to her, and to chance.

Wyrd - goddess of fate/destiny, Literary and Philosophical Society 2010.

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A pig for 100 Union Street
A pig painted on site as part of an art-trail during London Architecture Festival, for a project commissioned by the Architecture Foundation in which Heather Ring transformed a disused site into an Urban Orchard and Community Garden. 100 Union Street, London.

This Little Piggy

I'm a Little Teapot

If Wishes Were Horses, and other Nursery Rhymes - Wall mural for Saison poetry library, Royal Festival Hall 2010

Drawings inspired by nursery rhymes for the wall, columns and plinths of the Saison poetry library, Royal Festival Hall, commissioned by the South Bank Centre, 2010.

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Wanted is an art trail consisting of drawings and words disguised as adverts that convey thoughts and feelings about mental health issues as they are experienced and perceived, inspired by conversations with Creative Routes members. Creative Routes is an organisation based in South London, run by and for people who have experienced mental ill health. The project was commissioned by Creative Routes in collaboration with the South London Gallery for Bonkerfest, a festival that sets to open discussion about issues surrounding mental health through public art interventions. The drawings and text-pieces were created for the festival and exhibited in the classified ads section in nine newsagents' windows around Camberwell Green, as a public art intervention and a broken narrative.

Through a random cluster of adverts offering services and goods, an unpredictable and honest narrative is created collaboratively, reflecting the hopes, needs and desires of an imagined local community. Wanted inserted a secondary narrative that sits alongside the normal adverts, communicating personal voices whose only desire is to express themselves and be acknowledged.

This project is visually inspired by the direct language of the classified ads. Some of the drawings and text-based pieces sit between the gaps of other ads, interrupting the window display, while other pieces use the same visual language as real ads, and are in fact ads which have been collected and modified to include voices other than their own.