I’m an artist, writer and curator based in Scotland. My research is currently centred on writing as an artistic medium, working experimentally with hybridised forms, involving fiction, playwriting, prose poetry and criticism. I’m specifically interested in the live public encounter with writing, including event-making, workshops, performance and experimental publication, and have recently shared my work with audiences in Market Gallery (Glasgow), Hospitalfield (Arbroath), Ruine Munchen (Munich), Dundee Contemporary Arts, The Yale Centre for British Art (London), Listen Gallery (Glasgow), CCA (Glasgow), Manchester Whitworth Gallery. Thematically, I seek to develop insights into embodied possibilities to exceed limits imposed by experiences of marginalisation and related trauma, the voice as a medium and method of writing, and devalued and invisibilised forms of labour. My approach is at all times informed by my lived experience as a working class, queer, nonbinary, mixed race person.

I was recently invited by Professor Maria Fusco (Duncan of Jordanstone, University of Dundee) to lead the teaching on her course for MFA students, Experimental Writing Studio, during her period of secondment as Director of the Scottish Graduate School for Arts and Humanities. Based on Professor Fusco’s course structure, during January-May 2026 I developed and delivered a new suite of lectures and workshops teaching directly from my own research, with a focus on voice, embodied writing, iterative editing approaches, and overall centred what Kathleen Stewart, Fred Moten and Stefano Harney theorise as a “radical empiricism”, emphasising praxis and close detailed observation of self, objects, environment and experience. I shared aspects of this curriculum with a broader public audience as part of a one-off workshop event with the artist-run initiative, Generator Projects in Dundee in April 2026. This event forms the basis for an experimental new piece of writing in the upcoming issue of the Journal for Writing in Creative Practice considering in minute detail the expertise and the work of facilitators, which often goes unappreciated or is taken for granted, is a role I distinguish from more conventional ideas of formal learning and pedagogy.

Through the previous 13 years, I have formed a distinctive position with Scottish contemporary art, working in senior positions across several renowned organisations, as well as undertaking consultancy work with independent artists, and in relation to anti-racism and decolonisation within the institutional setting, including as Board Member of The Common Guild, and as one of three co-authors of an impactful report on Glasgow International, led by Professor Ima Jackson, with Adebusola Ramsay. 

I have extensive experience working in art education within gallery and museum settings, supporting the learning programme of Edinburgh Sculpture Workshop from 2017-19, then later I served as one of two Curators conceiving and delivering the educational and participatory output of Timespan Heritage and Art Institution in Helmsdale, Scotland. I frequently construct and facilitate new experimental workshops across a range of institutional settings.

From 2014-22, I served as Art Editor for The Skinny magazine, resulting in a vast body of art writing, forming the foremost critical survey of contemporary art activity in Scotland during this period. My writing also is regularly featured in the international art press, most recently the cover article for the March 2026 issue of Art Monthly on the artist Rehana Zaman. In 2026, I commenced my tenure as Associate Editor of the Journal of Art Writing.

Throughout 2020-24, I co-programmed the Artists’ Moving Image Festival with Tako Taal for LUX Scotland, then later developed a full-length publication on our experimental approach to the festival format. Our reconsideration of the pacing of the festival has been highly influential to subsequent editions, following our decision to extend what was an intensive weekend-long festival to become a series of interrelated episodes and gatherings.

From 2021-26, I have completed an ambitious body of doctoral research in experimental writing, focusing specifically on artists’ workshops as a crucial medium of contemporary art activity, supervised by Professor Maria Fusco (principal) and Dr Johanna Linsley. I was awarded a fully funded studentship from the Scottish Graduate School for Arts and Humanities, hosted by Duncan of Jordanstone, University of Dundee and Dundee Contemporary Arts, within the framework of a Collaborative Doctoral Award—funded by the Arts and Humanities Research Council and the Scottish Funding Council. This project is titled Experiments Always Involve Injury: A practice-led enquiry into artists' workshops, care and non-normative writing within contemporary art institutions.