I grew up on a wiggly and wild estuarine farm in Devon, called Warleigh. This land has shaped everything about me, and continues to influence everything I do. This profound relationship to place is the beating heart and starting point of my creative practice.

Over the past decade, my work has taken me across the UK and internationally, exploring how people live with land and sea in different contexts. I have worked in conservation, farming and film projects in Southern and East Africa, as well as leading environmental education initiatives designed to reconnect people — particularly young people — with the natural world.

In 2021, I began working with Kivukoni School on the Kenyan coast, where I led a whole-school transition towards more ecological ways of being. This included developing a nature-based curriculum, establishing an Eco Hub and Festival, training local educators, and co-creating programmes that have reached thousands of young people. This work expanded into the Kaya Connect Project, a large-scale forest restoration initiative, where I coordinated the education component across communities surrounding the East African coastal forests.  

Alongside this, I have continued to work within farming and land-based projects in the UK. At Warleigh I have been working to steer the 480-acre farm towards regenerative and wilder practices, co-founding the Tamar and Tavy Osprey Project and developing education programmes that connect farming, biodiversity and community.

My work has also taken the form of journeys and expeditions. In 2021, I undertook The Climate Ride — a 1,200-mile solo journey on horseback from John O’Groats to Land’s End — raising funds and awareness for environmental education. These experiences of moving through landscapes slowly, and with purpose, continue to inform my approach to storytelling.

More recently, I have been working at the intersection of farming and narrative change. As part of my work with the RSPB and in collaboration with partners including the University of Oxford, I have contributed to projects exploring how farmer storytelling can support transitions in land use and ecological practice.

This has led me back to my own roots. My recent film, The Nut Farmer of Glastonbury, documents my father’s transition from conventional agriculture to a tree-based system, and marks a turning point in my practice — bringing together personal story, farming and ecological change.

Alongside film, I am developing a body of material-based portrait work created using elements gathered directly from farms — soil, plant matter and organic textures — exploring how land, identity and story can be held together through image.

Today, my work is increasingly focused on building a body of practice that moves across film, art and lived experience — creating stories that reconnect people with land, and exploring how we might live differently in a time of ecological urgency.