I currently freelance curate exhibitions across the UK - mainly within the NW of England.

Presented below is an archive of exhibitions I have indepfvfjffief and co-curated and installed in order of newest to oldest exhibitions. Notable places are: Tate Liverpool, FACT Liverpool, OUTPUT Gallery, Independants Biennial Liverpool, and Convenience Gallery.

I always observe how spaces can evolve for visitor experience, become more accessible for marginalised people, and how the artist can be represented and supported to the next stage of their career. 

Future Curation: Tetley Leeds, 2022.

For info of my work, please see my C.V.



I was invited to guest curate Hilan Gully's Voices exhibition at OUTPUT Gallery, in Liverpool. Having curated this space before, I was excited for a new way to interpret the work made by the participants of Gully's previous workshops, which was to show the voices of Merseyside based Middle Eastern and Arab community, about climate change, environmentalism, and how they feel their voices are represented and heard.

In this space, we thought it was important to visually demonstrate the protest boards the participants made to emulate a real protest within the gallery, keeping the conversation frontal and ongoing. IMGS: OUTPUT GALLERY



OCT 2021

I really love curating in spaces that will be functional and aesthetic at the same time - this was the case in this instance. This exhibition I curated in the basement of Hyde Park Book Club in Leeds. It was a fantastic fundraiser for QTIPOC charity What Can We Do - that fundraises for UK Black and Brown Trans people’s healthcare, housing, and mental health needs. The space's artwork also consists of Queer university student's work, which consisted of film via projection, canvases, photographs, large print posters, delicate clothing and paper pieces (illustration and poetry). In total it was around 40 pieces of work total.

The space had to be curated start to finish in about three hours - but despite the short time frame, it was complete with safety and accessibility checks.


Utilising a space at Bloom Building, Birkenhead in which is usually a Café, I transformed the space to equally create designated 'wall space' for each individual artist, and to create a functional, streamlined space that can re-arranged or moved within short notice. This was made possible by using plinths and erected stand-alone panels.

This exhibition consisted of  mine and 4 other artists work, sharing our own experiences of BPD (Borderline Personality Disorder) through the lens of artwork. Working with artists' work when they aren't present is a tricky challenge, as you need to represent it correctly. By taking an in-depth look into their practice and context of the works, I was successful in ensuring the safety and integrity of their art remained top priority when installing.



This was the biggest Exhibition I had ever curated independently, and it was a significant learning curve to my practice. Kiara Mohamed, Liverpool based Somali Trans artist invited me to curate his exhibition exploring his works. He felt it was important that the people working on this project were Queer and Somali, as often cultural traditions and knowledge is not represented within a gallery space by people who actually are within those communities. This can sometimes lead to the artist not being able to be fully supported, and possibly making spaces not as safe and open as they usually are. 

Soft Boys is a short film about queer and trans joy, specifically through and within the Somali culture and community. By re-engaging with Somalian traditional dances, cooking practices and garments, Kiara connects with his nomadic ancestors and to a heritage from which he had always been made to feel excluded. In this solo exhibition, Kiara’s new work highlights how modern concepts of masculinity can be surprisingly conservative, even within the trans community. The experimental documentary questions what it means to be a man by focusing on emotion, empathy and joy. 

During this project, I executed the exhibition from conception to installation, advancing research locally, culturally and in regards to Kiara's practice. I contemplated what would make this safe feel safer for people who are Queer, but perhaps may feel uncomfortable viewing Queer art within a public setting. I concluded on areas which had coverage from the public, headphones to cover the sound and context of the film, and bean bags for those who wish to stay for a while. I believe working with artists who you can relate and share experiences with is really important to make an exhibition feel genuine, warm, and welcoming. IMGS: FACT LIVERPOOL