Ethically foraged materials gathered from ancient and sacred landscapes are combined with discarded mannequins to form Nature Spirits—figures that sit between the human and the elemental, carrying a quiet sense of transformation and presence.

The series was first developed during the Spring 2020 lockdown, when the initial spirit was exhibited at Wells Cathedralalongside a participatory plastic flower garden created with the local community. Since then, the work has expanded to include multiple spirits and has been exhibited at Fairytales of London and during Halloween Week at Strawberry Hill House, Horace Walpole’s Gothic castle in London.

Across each iteration, the figures evolve in response to place, materials, and context—balancing playfulness with an underlying sense of ritual, memory, and care.

​

An important aspect of the project lies in the use of mannequins sourced from both luxury retail and fast-fashion environments. Once designed to display desire, value, and trends, these bodies are removed from their commercial function and repositioned as vessels for transformation. By stripping away their original role, the work questions how value is assigned—and how quickly it is lost.

The contrast between mass-produced mannequins and materials gathered from ancient landscapes creates a dialogue between speed and slowness, excess and restraint, disposability and continuity. Elements associated with deep time and ritual are brought into conversation with objects shaped by contemporary consumption.

A restrained sense of mysticism runs through the work—not as spectacle, but as atmosphere. The figures suggest guardians, witnesses, or transitional beings, hinting at the possibility that objects retain memory and that transformation can be gentle rather than dramatic.

At its core, Nature Spirits is about renewal. Discarded forms are given new life through careful attention, intuition, and making by hand—allowing what was once overlooked to exist again with presence, dignity, and care.