Sh*t Glitter considers the notion of ‘artificial’ trans bodies and their connection to consumerism. The sound and installation work explores how transness is intimately linked to a lack of reproductivity, queerness and so also a lack of productivity. The work uses narrative and materially-driven sculpture to address how artificial bodies are viewed as both abject and attractive, playing off of the poetry of CAConrad to embrace queer reproduction.

Sh*t Glitter followed research into queer and transgender theory, referencing the ideas of The Synthetic Hyper Femme (2017, Puig K.), F*CKING PANSIES (2022 Heinemann, C.) and Trans Marxism (2021, J. J. Gleeson & E. O’Rourke).

As an artist, I predominantly work in sculptural installation and performance.  I draw on lived experience as well as queer theory to explore the significance of the trans body in social, political and religious contexts. By encouraging the viewer to take up a position of care, voyeurism or vulnerability I intend to create intimate relationships with strangers. 



This work is an interactive installation for one viewer to experience a sound work. Inside the box, three silicone and acrylic components emit scent, vend a small pink item or catch this item. Each viewer who experiences the work takes a small part of it home.