The installation incorporates sculpture, video, digital fabrication and real medical equipment, including EEG machines and neurofeedback devices, so that a visitor’s own brain activity becomes part of the work.

It was made during the COVID-19 pandemic with the explicit aim of destigmatising mental-health issues affecting communities of colour — at a moment when who could reach care, and who could not, was impossible to ignore.

Sense Synchronizing sits directly between the neuron drawings and the chambers — it is the first work where synchronising the senses becomes the explicit subject rather than the method.

Anti-racist and Leaf of Hope were made in the same period as Collective Consciousness, and share its question: whose nervous system does medicine take as the default.

University of Delaware, 2024.

Each sheet takes one cell. Drawn from neuroscientific reference and then pushed until the form stops being a diagram and starts behaving like a plant, a river system, a root — which is the point. The brain’s architecture does not look like the schematic we use to teach it.

These forms went on to be cut into etching plates and screens, printed onto cloth, and eventually projected across the installations. Nothing in the later work is invented; it all starts on these sheets.

Above and Below is six feet across. Three Windows, Between The Two, Internal Decomposition — the titles do most of the work here: this is painting about being inside something and looking out of it.

The Rare Ataraxy triptych and the Recherche diptych are the first works made in sequence rather than singly, which is how everything since has been made.

Tangled Synapse is relief on Kozo, a long-fibred Japanese paper that takes a heavy impression without tearing. Neuroglia is etched onto handmade paper — sheets I pulled myself, so the surface is uneven before a plate ever touches it.

Neuro-stitches goes further: an etching on handmade paper, stitched through with gampi fibres. The stitching is not decoration. It is a second drawing in a second material, passing through the first.

Everything the chambers do with printed textile is anticipated here, at the scale of a sheet.

Looks Good on Paper, National Paper Arts Exhibition, Pyramid Atlantic Arts Center, Hyattsville, MD, 2022.

Every surface is printed. Screenprint and etching go down on organza, muslin and handmade pulp before any of it is cut or hung, so the chamber is a print first and a structure second. The strips that hang to the floor are the same printed cloth, slit and left to move.

What changes between the four is what the chamber does to a body. The Light Chamber carries LEDs sewn into its canopy and turns the wearer green, then violet. The Scent Chamber holds its own air. The Whisper Chamber muffles the room down to your own breathing. The Proprioception Chamber is heavy enough that you feel where your shoulders are.

This is the same project as the neuron drawings and the EEG installations, arrived at from the other side. Instead of picturing the brain’s architecture, the chambers put a body inside a structure that isolates one channel of it, so the sense being studied is the one you are using.

The Whisper Chamber developed at the University of Delaware, 2024. Shown in Compendium, Mechanical Hall Museum, University of Delaware, and Compendium, MFA Thesis Exhibition, Delaware Contemporary, Wilmington, 2025.