May We

I was pleased to be part of May We, a group exhibition featuring 21 artists that explored and reclaimed the radical roots of Mother’s Day and May Day. The exhibition engaged with themes of gender-based violence, reproductive autonomy, fertility and infertility, and the constraints of rigid gender roles. It also considered motherhood more broadly, beyond the biological, encompassing care for non-human and more-than-human worlds and our responsibilities to the environment.

The exhibition explored the idea that motherhood is not fixed, but continually shaped through acts of care, repair and remembrance. I exhibited The Dance #4, which explored the tension between maintenance and endurance within motherhood, where love is often expressed through repetition rather than recognition.

Through the work, I sought to make visible the psychological weight of quiet and often unseen labour – cleaning, tending and holding – that sustains others while frequently remaining undervalued. By working with domestic and discarded materials, I wanted to acknowledge these objects as witnesses to maternal time. Their irregular and imperfect forms reflect the complexities of home and the ongoing, often invisible acts of care that take place within it.