Specifications: 4 hr duration, 10-60 participants
How to Find Oneself in a Queer Cuddle Puddle? Theory & Practice
Can we go from strangers to cuddling each other in four hours? What would need to transform for that to happen? This pleasure garden explores conditions that allow people to stay in self-connection (internalised dignity, safety and belonging) while reaching for external connection and negotiating closeness. It utilises the register of education – its implied pacing, structure and support – to invite participants into risk-taking and vulnerable practice of cruising, in this case “cuddle cruising.”
The piece concerns itself with widespread touch starvation, systemic isolation and the organised abandonment of our needs by the state that inevitably results in compromised relational skills and alienation. It explores meeting touch and closeness needs outside romantic dyads and conventions of desirability. The work comprises a written piece called The Spell, performed aloud, an ambient cuddle mixtape, and an installation with painted placards.
Recent installments:
2026 Future Ritual, London (upcoming)
2026 Flow State, Brighton
2025 Silk, Brighton
2025 The Dance Space, Brighton
2024 Camp Trans, Wales
2024 Queer Joy exhibition at The Ledward Centre, Brighton
- + 2. HTFOQCP at Flow State, 2026;
3. + 4. HTFOQCP posters (2026, 2024);
5. “How Can This Feel Even Better?” placard.
Specifications: 4hr duration, 40 participants
QUEER CRIP LOVE ISLAND DREAM MACHINES
Inspired by collective research done for Normal Study Group: Objectification (2025) and Fen Rose’s Queer Crip Love Island poem. Through a series of somatic sequences and guided experiments, this piece invites participants to build machines of their dreams out of their own bodies. Later, the group is divided into two, so that one half can cruise the live art machines while the other half performs them.
The work foregrounds the pharmacopornographic era’s treatment of bodies as machines, with constant pressures of productivity, optimisation and self-regulation. It explores the tension between how bad living human bodies are at becoming objects and machines (our joints ache, we sneeze, get tired, change our minds, overflow with emotions) and also how well we are trained from early age to endure, dissociate, and please.
In the war on imagination, QUEER CRIP LOVE ISLAND DREAM MACHINES is an exercise in visionary world-building by means of inventing alternative machines and technologies to define our selves, our past, present and future. It is concerned with conditions for collaboration and play that negotiate the erotics of objectification through a Disability Justice lens.
Recent installments:
2026 The Bath House, London (upcoming)
2026 Hex House, New York City
- + 2. + 3. + 5. Dream Machines concept art and poster (2025-2026);
4. QUEER CRIP LOVE ISLAND DREAM MACHINES at Hex House (2026).
Specifications: 4min 30sec, digital video
something has happened
Made in collaboration with artist Laurie Green, this video explores “relationship as the medium and the method” in artmaking. something has happened asks: if the artwork is the relationship between people, how can it be captured? What relational artefacts and evidence can be preserved? Out of this dense, ephemeral, transient material, what do we choose to reveal and what to conceal?
The moving image is an alchemical artefact of connection, a reaction between two moments that inevitably creates a third. Laurie and soil’s neuroqueering bodies move and think themselves through space into renewed being, in visibly sped-up interactions. The superimposed sun~kernel activates the bodily fluid of the studio footage. The overlaid video was foraged 2.5 years prior, filmed in a rare and transient state of self-sovereignty, as an imperfect document of the embodied revelation. The collaged effect is both protection~concealment and the overexposure of subtler energetic realities. A time travel and a spell.
- Title card for something has happened (2026);
2. + 3. BTS photography for something has happened (2026);
4. + 5. stills from something has happened (2026).
Specificiations: online zine
Harm Response System for The Queery (RIP 2022–2026)
Harm Response System for The Queery (RIP 2022–2026) is a manual that emerged from a year-long engagement with The Queery, a queer, volunteer-run co-operative where I ran a book club until its closure due to long-standing financial struggles and organisational polarisation.
This work came about in response to widespread banning practices as a measure of safety at The Queery. Instead of leaving the venue and boycotting it for its practices, as other groups did, the point of this work was to engage with them and support them in developing a system for responding to harm rooted in anti-carcerality and ideas of Transformative Justice.
The document’s narrative highlights the tension between the design of alternative infrastructures and the material conditions required for that infrastructure to survive. The new harm response system did not get a chance to be fully integrated and tested because of The Queery’s abrupt closing.
- + 2. sections from Harm Response System for The Queery (RIP 2022-2026);
3. Harm Response System process chart.
Specifications: 2hr duration, held monthly, Zoom call
griefing, poetry: pandemic
A collaboration with Toronto-based poet nic lachance, griefing, poetry: pandemic started as an artistic response to the UK and Canada loosening COVID-19 pandemic restrictions and the state-managed transition to the “new normal” that followed. griefing calls attention to the collective pool of grief and lack of grief-tending spaces as a result of colonialism in the global West and worldwide. It sees the erasure of grief spaces as a form of social control.
Through structured ritual and facilitated space for communion, griefing stewards an idea of grief not as an inconvenience to overcome, but as a technology of emergence, a trafficking of edges, a transference of borders, an invitation to eat the meal of our times, a transformative perceptive quality (“because maybe we see clearer with the tears in our eyes” – Bayo Akomolafe).
Four years in, griefing deals with the metaphysics of digital communion, interweb transmissions of wetness, and the relational bonds that make communal grief-tending possible.
- + 2. slides for griefing, poetry: pandemic (2022)
3.+ 4. slides for griefing, poetry: continued (2023)
5. + 6. griefing digital photographs (2022)
specifications: 3 hr duration, bi-monthly, in-person
Queer XXXtreme Sports Book Club
A social and performance project exploring reading and embodiment. Queer XXXtreme Sports Book Club is a space to read provocative, shattering, and arousing queer theory out loud. The book club technology is stretched to explore the process of “getting on the same page” through discussion, collectively forged access, the labour of reading, exhibitionism, and what happens to spaces when we read theory out loud. By focusing on trans and queer literature, the space seeks to find theory that enriches trans liberation movements.
The book club hosts annual “performative readings,” where attendees are invited to follow the more and more of experience and participate in an open score performance, inventing and improvising unconventional and outrageous ways of reading out loud (reading upside down, reading while undressing, reading while having your hair pulled, etc.).
A booklet about Queer XXXtreme Sports Book Club is due to be published by Em—Dash in October 2026.
- + 3. QXSBC posters (2024, 2026);
2. a page from QXSBC zine (2026);
4. “D&G” sticker for QXSBC (2026);
5. Agreements for Multicultural Interactions used at QXSBC (2024).
Specifications: 1hr 30 min, 70 people
The Queer Art of Spin the Bottle
A pleasure garden commissioned by Skinship (Berlin) for WHOLE Festival. The Queer Art of Spin the Bottle reimagines the popular party game many people experienced as teenagers, exploring its historical origins in divination and restructuring it to centre expansive approaches to sexuality, gender diversity, and kink practices.
It is interested in chance and distribution of affection: what happens if the person who receives your attention and warmth is chosen by chance, rather than chosen through the orientations of our desire, and therefore, hierarchies of desirability?
The Queer Art of Spin the Bottle incorporates hand-drawn cards to gameify and diversify ways to participate. Avgi Saketopoulou’s ideas around “limit consent” are applied to liberate and complicate how consent functions in the game, while being aware that part of the game’s erotic appeal is in “bending will” (Saketopoulou), playing with exhibitionism/voyeurism, and social pressures.
Time-travelling evocation of participants’ early memories of sexual experimentation is central in its affect, allowing participants to re-enter the playful space with different knowledge and values.
- “Joker” playing cards, a nod to Skinship
- “???” playing cards, a nod to Skinship
- Draft flowchart with the rules of the game
Specifications: digital photography and typeface
queens park cut down all the cruising bushes so i documented what remains
A photographic series documenting what remained after the cruising bushes in Queen’s Park, Brighton, were cut down. The park’s intervention is one amongst many in the city, including the major redevelopment of Brighton’s iconic cruising spot at Dukes Mound, that was done without consulting any queer herotage groups about the location’s historical significance.
The photographs of tree stumps are overlayed with quotes from Park Cruising by Marcus McCann. The series positions public sex as a “part of democratic association and as a vision of the good life” (quote by the advocacy group Queer Ontario).
- “queens park cut down all the cruising bushes so i documented what remains” (2025);
- “he said we think too much of love as this private thing” (2025);
- “the defining characteristic of cruising” (2025);
- “the strangers in your life” (2025).
Specifications: 3 hr duration, 20 participants
grief~shapes
An installation and communal ritual commissioned by ONCA Gallery to mark Lost Species Day and the closure of ONCA.
grief~shapes is concerned with an embodied sensation of grief: what shape does it take inside of people, what is its size, texture, outlines? Where is the doorhandle to your grief?
The work took the form of an altar, a grief circle and a collective sound sculpture, made with participants. Participants were asked to go on a 15 min walk, while recording audio with their phones. They were encouraged to interact with the gallery environment and the surrounding area, record the soundscape, read their poems, or share memories of the space. Once back, all recordings were played simultaneously, creating an ephemeral sculpture of sound: a cacophony of memories, stories, and site-specific soundscapes to commemorate the closure of ONCA Gallery.
- grief~shapes, collage poster (photocopy and found objects);
- grief~shapes, clay sculptures;
- altar space and soup at grief~shapes.
Specifications: 4 hr duration, 30 participants
touch~friends!! wow! wow!!!
A collaboration with Berlin-based sexological bodyworker and artist em~body, this participatory piece critiques the ways in which our relational imagination and skills are shaped by the state’s capitalist agenda. The piece establishes a Temporary Autonomous Zone for visionary world-building, prompting participants to invent new relationship forms and genres.
“There is no single masculinist surge or armed confrontation that will bring the revolution we call for”, writes Jack Halberstam. “There is no magical community response,” writes Mia Mingus, emphasising the role of pods and individual bonds in community care.
How can we survive the collapse and shape change in the world if we are afraid to touch, be touched and be in touch freely, truly, authentically, trustfully, courageously? The piece responds to the urgent political need to build real relationships not based on coercion by leaning into the pleasure of touch and play that can be had along the way.
- + 2. touch~friends!! wow! wow!!!, typeface and poster;
3. touch~friends!! wow! wow!!!, participant’s bunnies;
4. touch~friends!! wow! wow!!!, setup.