Izzy Guyton forces her way into male-dominated practices like

glass, metal, and painting, twisting them into unruly, hyper-

feminine forms and scenes that resist and contradict their own

material rigidity. Rooted in frustration with the political and

social expectations placed on women and the difficulty in

navigating and gaining a consciousness of internalised

misogyny, her work draws on humour, anger, and contradiction

to question inherited narratives and imagine what womanhood

might be without them and who she might be once rid of them.

Through acts of construction, breaking, and remaking, she

navigates a restless, almost compulsive search for self, where

materials strain, collapse, and reform in a fragile tension

between control and liberation.