I am an interdisciplinary textile artist and designer whose practice integrates hand- and machine-made knitted garments and structures. My work investigates the historical and ongoing erosion of inherited textile traditions, rituals, and local craft communities under global mass commercialisation, as well as the lingering effects of Cyprus’s colonial past. I work across the mediums of sculptural knitwear, archival documentation, drawing and painting.

Born and raised in Cyprus to a British mother (interior designer) and a Cypriot father (architect), my work produces clothing that embody a new narrative of colonial history while critically examining the tensions between these identities. I explore this tension in my process through my deliberate choice of materials, techniques, tools and sites. 

I work primarily with cotton, linen, and silk yarn collected from obsolete textile mills in northern England. These materials once central to industrial production, carry the legacies of exploitation and displacement. By repurposing them within a Cypriot/Mediterranean context, I stitch together two geographies and histories, connecting questions of labour, heritage, and post-colonial identity.

A vital strand of my practice is my ongoing collaboration with the last remaining knitwear and shirt manufacturers of Cyprus. I have established close working relationships with these factories documenting their processes, working within the constraints of their machinery, and treating them as living archives of industrial skill. This research and production not only preserves the cultural memory of the island but also creates new pathways for intergenerational transmission.

The process of my work is as significant as the finished article. Every component of each piece that I make is first drawn out as a two-dimensional paper plan, measured and mapped into a pixelated form, a stage I regard as an early form of coding. These “codes” are then written into an instruction book I call a “mantra manual” and followed systematically on the machine to bring each piece into form. Using this almost archaic technology, I draw patterns and narratives from nature, echoing how traditional textile makers once embedded stories into their work. By reinterpreting these motifs, the process becomes both method and message, linking historical craft techniques to contemporary ideas of digital patterning, information systems, and cultural memory.