My practice is process led, starting with charcoal drawings of female figures and forms that overlap into illegibility and multiplicity. These figures are retold from women’s rugby photos, which allows for me to work from a more flesh-on-flesh dynamic. From this, I pull figures forward through oil paint, allowing them to affirm themselves visibly, whilst not allowing other figures to be visible at all. By doing so, I reflect on ideas of womanhood as a collective experience in relation to unity, visibility, fragmentation and ephemerality. I incorporate mark-making as a vestige of the body, creating and responding to line, by tactile methods or otherwise. This aligns with my ideas on female identity and the range in which it can be manifested. Working through a lens of abstraction and representation, the enigmatic figures often integrate into each other, allowing for a fluid demonstration of womanhood and its transformation. My research involves internalised misogyny and a borderspace that situates itself between co-emergence with the male gaze and the rejection of it. Doing both, or perhaps neither. I would describe my practice as a visualisation of the transformation of female identity within a patriarchal framework and the impossibility of fully transcending such ideologies.