The artist residency was a pivotal time for me to explore my diagnosis of AuDHD as a young woman from rural Wales. Leaving home at 18, my education felt disjointed, as the traditional British pedagogy of listening, copying, and regurgitating never suited me. Constantly blaming myself, I rarely paused to consider my own desires. 

Drawn to the material world, I found comfort in nature, sparking a curiosity for design and creation. The residency, overlapping with my master’s degree and plans for a PhD, allowed me to explore the interplay between form and lived experience, particularly around my late diagnosis. 

I reflected on my body, adapting unconsciously to its environment, leading to the creation of maquettes tentatively named “Embodied Landscapes.” Walking Dartmoor, I connected with the landscape, photographing sites like Leather Tor Cross and Down Tor Stone Circle. These spaces evoked a deep connection to my Welsh heritage and its fractured history. 

The Christian Church's influence on my upbringing felt restrictive, reflected in masking Leather Tor Cross with white sheets, symbolizing loss and rebirth. This act, along with exploring absence in nature, mirrored the shifting identities of women over time. My ceramic vases embodied this transformation—soft yet resilient, shaped by their environment and experiences.