h1_1m_d0lly! , Interactive Website, HTML CSS JavaScript, 2025.

h1_1m_d0lly! is a digital work that traces the cultural trajectory of the figure of “Lolita” from Nabokov’s 1955 novel through its film adaptations and into the emergence of performative “Lolita” and “nymphet” tropes across book design, cinema, internet culture, and contemporary femininity. Using Jean Baudrillard’s four stages of the simulacrum as a framework, this project reinterprets and transcribes the original film narratives, rearranging and re-coding them into a deliberately unstable digital form.

The resulting website, adopting an early-to-mid-2000s web aesthetic, functions as a subverted copy: a hyperreal, unrecognisable simulacrum that mirrors how Lolita has been repeatedly copied, aestheticised, and re-performed across culture. In both its medium and content, the work visualises the processes of transcription, distortion, and re-narrativisation that have shaped Lolita’s cultural afterlife.

More broadly, h1_1m_d0lly! critiques the construction of feminine performance, the role of the internet in producing hyperreal girlhood, and the neoliberal acceptance of these mediated identities—contributing to ongoing discussions of gaze, representation, and the politics of young femininity in film and media.

h1_1m_d0lly! , Interactive Website, HTML CSS JavaScript, 2025.

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G.url, interactive website homepage screenshot, HTML CSS Javascript, 2025.

G.url is a web-based, interactive identity narrative work aimed at satirizing and crtitiquing the internet content directed toward young girls. G.URL adopts the aesthetics of #girlboss internet feminism, and oversaturates them with familiar imagery of pixelated gif’s, hello kitty and memes to make visible, and interactive, the conditioning of neo-liberal, choice feminism into the cultural zeitgeist of pre-teen and teen girls. Through creating an interactive identity that unfolds through the exploration of the website and its hyperlinked narrative, quizzes, personalization and poetics, G.URL aims to make the user self-aware of the ridiculousness of internet aesthetics #lanacore #lolitacore and how they have shaped their own conception of femininity – a collection of neatly organised aesthetic identities #cleangirl #girlrot #girlblog. The work uses HTML, CSS, p5*js and API, grounding itself firmly in the girl-internet it is critiquing. G.URL is inspired by internet artists Molly Soda and Martine Neddam’s ‘mouchette.org’ who uniquely recreate internet girl aesthetics and the construction of identity online according to their contexts; 90’s and 2010’s internet, respectively. My work aims to extend upon each these cyberfeminism’s, existing within the internet culture of 2025 #girlmath.

All gifs on this work were sourced from Internet Archive's sub-site GifCities

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G.url, interactive website, HTML CSS Javascript, 2025.

All gifs on this work were sourced from Internet Archive's sub-site GifCities

Delusion Angel, kinetic typographic video, 2025.

This kinetic typographic poem uses the idea of rolling credits turning into, or becoming reflective of their poetic content. The word creates itself, and in so doing loses its initial function- making way for a new poetic and an expressive possibility.

The poem in this work was taken from Richard Linklater's 1995 film "Before Sunrise".

AI Asterisk, zine, 2025.

This human-ai collaborative zine explores how the punctuation mark, the asterisk, is percieved and then processed by AI Image gen and Language learning models respectively. From this exploration, a poetry is found, and a
narrative of the asterisk is created. Reflecting chance, randomness and the beauty found in that, this work seeks to ask how going out of the grid of traditional letterforms/glyphs can be an exciting, generative experience.

Images and ASCII conversion within the work were generated by multiple AI platforms including ChatGpt, NightCafe, Stable Diffusion and Adobe Firefly.

AI Asterix, zine spreads, 2025.

Images and ASCII conversion within the work were generated by multiple AI platforms including ChatGpt, NightCafe, Stable Diffusion and Adobe Firefly.

LED type matrix, kinetic typographic video, 2025.

This work takes the LED dot matrix sign, and turns it into kinetic poetry— the 'dot' (the bulb) revisualised as the letterform.

Carefree Pads Rebrand, 2025.

This project responds to decades of period-care branding built on soft pastels, clinical sanitisation, and false empowerment. The existing visual language of the industry has long relied on euphemism and shame—selling the idea that menstruators should be discreet, quiet, and subtle about their blood. Our rebrand of Carefree pushes back against this history of bullshit.

Through an emboldened redesign of pads and packaging embracing blood, "grossness" and complete honesty. It aims to reclaim period care from sanitised marketing and reposition it as something direct, loud, genderless and owned by the people who actually use it.

This work was a group project done with fellow graduate classmates Osha Barrett, Cleo Oberin and Karen Luo.

Carefree Rebrand, Box design, 2025

This work was a group project done with fellow graduate classmates Osha Barrett, Cleo Oberin and Karen Luo.

Carefree Rebrand, Pad Wrapper Designs, 2025.

This work was a group project done with fellow graduate classmates Osha Barrett, Cleo Oberin and Karen Luo.

i've just lost all the colour in my face, video performance, 2024

“i’ve just lost all the colour in my face” explores the relationship between Colour, in the form of makeup, and the construction of gender and identity, specifically within a queer context. Through static and moving images of makeup wipes marked by vibrant, abstract swirls of pigment and faces frozen in imprints as if caught mid-performance— the work explores the ephemeral nature of how gender is visually constructed. The symbolic removal of this performance onto fragile pieces of cloth, now dense with Colour, leaving behind a barely stained face, underscores the ease with which identity can be stripped away or altered. This piece does not seek to undermine the use of makeup or the act of visual gender expression. Instead, it offers a satirical commentary on how Colour operates as the medium through which the face assumes gender and vitality. The act of wiping away or peeling off these layers suggests a critique of how fragile and performative these identities can be but also celebrates the transformative power of Colour to generate and reimagine identity in a fluid, ever-changing form. In this queer context, Colour then simultaneously constructs itself as a tool for expression and a mask of temporality and impermanent authenticity.

i've just lost all the colour in my face, makeup wipes , 2024

A to B Colour Journey, flipbook inner and outer covers, 2024

In this flipbook, I trace my daily routine and the unexpected bursts of colour and pattern that punctuate it. My movements from sleep to cat to work to uni and back again are rarely linear; instead, they unfold through repetition, detours, and small visual surprises. I bring together faces of my cat and partner, the clothes I sift through each morning, fragments of plants, and patterns that usually go unnoticed.

By mixing and matching these elements, I create a visual narrative that reflects the vibrant, scattered ways I experience my environment—mirroring the scrambled thoughts, memories, and impressions that shape my everyday.

A to B Colour Journey, flipbook pages, 2024

A to B Colour Journey, flipbook inner and outer covers, 2024

Stephen Tayo "Which Lagos you dey?", Speculative Book Jacket Design, 2024

Drawing from the work of Nigerian artist Stephen Tayo—particularly as presented in the 2024 NGV Africa Fashion exhibition—this speculative book jacket translates his visual language into the medium of the artist book. The design references Tayo’s recurring use of stickers, queer expression, and place-based imagery, as well as his playful cut-out aesthetic.

The jacket is conceived as two layered surfaces: a base layer featuring a leopard-print field and compositional cut-outs drawn from his photographs, and a secondary transparent vinyl overlay scattered with colourful stickers. These stickers operate as the primary typographic and communicative elements, echoing the tactile, joyful, and identity-driven visual codes that animate Tayo’s practice.

Stephen Tayo "Which Lagos you dey?", Front and Back Cover, 2024

Stephen Tayo "Which Lagos you dey?", Book in Situ , 2024

distance from earth to moon, short film, 2024

Inspired by the quote "Distance from the Earth to the Moon; a sheet of cigarette paper so fine it would take a thousand of them to make a millime-
tre, folded in two 49 times in a row" by George Perec, this film is an exploration of the spaces (or anti-spaces) between two posts. What is between percieved binaries; black and white, good and bad, yes and no? Limitless opportunity, poetic stasis, void. What does lie in the distance between the earth and the moon?

Music composed and performed by Jackson Lewis.