My work is a testament to overcoming the intimidation of a sculptural practice which is historically represented by the white, heterosexual man. Like many other queer creatives, my primary areas of interest growing up came from monsters and mythology. Accessibility is important in my work. This accessibility is seen in my chosen materials of recycled woods from skips etc – giving discarded materials new life as artworks. The idea of transformation is central to my practice and this sustainability is informed by my identity as a working class artist. Thinking of the term “craft” as a transformative and non-linear process, the work aims to recode politics behind the workshop – without gender politics being imposed onto myself as an artist. Indeed, the work is not intended as “female artist within the workshop”, rather how can I master my craft in order to create space and accessibility for others that aren’t traditionally invited into such spaces.