I am a multidisciplinary and mixed-media artist, expressing myself through the oracular priestess arts. This means my work is a combination of sacred transmissions and living codices collapsed into physical form. My initiation into the mystical arts came about through a spiritual crisis in the form of a kundalini psychosis - a destabilising experience of personal gnosis, which led me into the Ancient Priestess Temple Arts and the exploration of the repressed dark divine feminine archetypes. From Oya to Magdalene to Ceridwen. Each archetype provides a transformational blueprint of full artistic embodiment when no stone is left unturned.

Walking the tightrope between trauma, gnosis and spiritual initiation, I explore themes related to transcendence alchemy and the sacred transmissions of the Black Madonna. My work draws on personal experience, particularly the intersectionality of race, gender, and ancestral memory. It engages with colonial erasure and reclamation of identity in a world that has been long hostile and neglectful to the very nature of my divine feminine blueprint - the Black Madonna, the supreme archetype of Black feminine consciousness.

The Void of the Black Madonna is a personal living archive of my multidimensional travel across space and time, weaving together the ancient priestess codes from various sacred sites, including Egypt and the very Celtic lands of North Wales. This portal is more than an exhibit. It is a dimension that holds relics.

Living Transmission Psychometry is my speciality when it comes to one of the many forms of grid work and spatial alchemy that I do. Every space, garment, artefact or adornment that crosses my threshold is encoded into a living transmission. These transmissions collapse time, awaken memory, and anchor sacred resonance into matter. They become living codices of timeless and ancient healing intelligence, infused with Celestial Union frequencies.

As a Grid Node Leyline Alchemist, I absorb the history of lands into the subtle energy centres of my body, and transmute them into living codices of ancient wisdom for legacy and preservation. The exhibit has become a space of sacred boundary. Only those who can meet the portal may enter and feel its inspiration.

This portal is ever evolving, ever growing, and communicates to me how it would like to express itself. I become a channel through which those sacred transmissions, in the form of art, are expressed. This exhibit is also a statement: temple ruins and echoes remain when sacred architecture is not upheld with the dignity and reverence it deserves.