24/03/2026
Q: Across illustration, animation, and ceramics, how do you describe your practice? What through-line connects those media for you? And what first drew you to animation? What can it express that a still image can’t?
A: My practice centres around visual storytelling. I’m interested in capturing small emotional moments drawn from everyday life or imagined worlds. Most of these moments are joyful, but they can also hold melancholy, stillness, or quiet reflection.
Across illustration, animation, ceramics, and potentially other forms that I’m still exploring, I often create gentle, playful characters. These figures act as emotional bridges. I think they make it easier for people to connect with the feelings I’m trying to express.
My first animation project began during my MA in Illustration and Visual Media at UAL. I chose a Cupid clock from the Wallace Collection Museum and developed it into a short animation. It was my first real encounter with moving image, and I immediately felt how naturally animation holds narrative. It allows for linear storytelling, but also for rhythm and music to become part of the emotional structure. Even subtle movement, such as a blink, the flicker of a star, can bring a kind of liveliness and nuance that a still image sometimes cannot.
