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The Flag interrogates how national symbols create, erase, and enforce boundaries of belonging, identity, and exclusion. Using barbed wire, this sculpture deconstructs the comfort and familiarity of the national emblem, confronting viewers with stark questions about nationalism’s inherent violence and ambiguity. Drawing from Judith Butler's concept of performativity and Benedict Anderson’s "imagined communities," the work explores how symbols materially and ideologically enforce social structures. Jean Baudrillard's "simulacra" underlines the conceptual core: flags represent shifting, unstable meanings, constructed realities perpetually masking exclusionary practices beneath narratives of unity.
The Flag
2025
Sculpture
metal, barbed wire
190 x 120 x 20cm
Daily Catch exploring the invisible pressures embedded in everyday domestic life. It draws on themes of entrapment, duty, and gendered expectation—particularly the quiet, unpaid emotional labour placed on women across cultures and time.
The piece contrasts symbols of intimacy and tradition with objects of control: a ring set against a trap, framed by traces of kitchen labour. It reflects the subtle violence of inherited roles and the silent negotiations woven into routine. Influenced by Silvia Federici’s "Wages for Housework" and Nancy Fraser’s analyses of social reproduction, the sculpture aims to expose how the private becomes political—and how care can be laced with constraint.
Daily catch
2024
Sculpture
food-stained kitchen tiles, engagement ring,
welded vintage trap
30 x 30 x 5 cm
Send it Back reclaims a phrase weaponised by nationalist rhetoric, turning it into a critique of exclusion, visibility, and institutional control.
Appearing on the cover of Ark Parrhesia, Lola positions her work within the politics of representation—flipping the script on who gets to belong, and who is asked to leave.
Drawing on Stuart Hall and Judith Butler, the piece interrogates how migrant identities are performed, circulated, and commodified—challenging the aesthetics of inclusion in cultural space.
Send it back
2025
Installation, photography
Cover artist of the Ark Parrhesia magazin in Collaboration with Ryan Gander
V for Victory utilizes visually recognizable symbols subverted through material intervention to explore power, violence, and propagandistic representation,
the bullet and the iconic V-sign — a gesture once used for wartime morale, later recycled in peace movements and political branding.
Inspired by Parajanov’s politically symbolic imagery and Benjamin’s theories on the aestheticization of politics, the work examines how symbols of power become detached from their violent realities.
In an age of image-based resistance, V for Victory reflects on the gap between representation and consequence — asking how easily meaning is emptied, and at what cost.
V for Victory
2025
Sculpture
Jesmonite, PU foam, nonfunctional bullet
35 cm x 28cm x 16cm
You can scream. You can shout. You can tear your lungs out into the streets, into the algorithm, into pillows. The question remains: have you been heard?
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In a world saturated with speech — online, in the streets, across borders — this piece reflects how power no longer needs to silence.
It only needs to let us speak without listening.
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This work critiques contemporary power’s subtle manipulation of speech—allowing apparent openness while maintaining strict limits on actionable discourse. Referencing the iconic 1968 megaphone, a universal symbol of protest, this sculpture questions the effectiveness of modern-day collective action. Despite apparent platforms for expression (social media, public forums), voices protesting war crimes, genocide, or climate crises remain systematically unheard or dismissed. The megaphone thus becomes a symbol of silenced frustration, embodying the illusion of speech freedom that never translates into effective political change.
Have you been heard?
2025
1968 PYE Transhailer megaphone (modified), rope, metal
60cm x 45cm x 45cm
Fkn Gravity is a part of ongoing sculptural series, that explores the complex contradictions of femineity, especially as shaped by the social pressure, inherited roles and imposed identities.
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Fkn Gravity critiques societal invisibility and economic devaluation imposed upon aging women in various professional and cultural contexts. Gravity metaphorically symbolizes the relentless societal pressures pushing older women to the margins. Drawing from Simone de Beauvoir, "The Second Sex" and Silvia Federici, feminist critique, this sculpture interrogates inherited norms about aging femininity, highlighting that women become metaphorically "invisible" or "weightless" once perceived youthfulness or economic productivity wanes, resulting in their exclusion from contemporary visibility, representation, and decision-making roles.
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Fkn gravity
2025
Sculpture
Ceramic, glass, eco resin
25cm x 15cm x 15cm
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Public interventions that effectively merge satire with direct socio-political critique. Employing humour, language, and ephemeral interventions (wheat paste posters and projections), this project engages urban audiences directly, bridging political art with street-level activism.