I was born October 14 1994, in Ottawa (Canada). I lived in the suburbs until I was nineteen and then moved to Toronto to study illustration at the Ontario College of Art and Design University. I left school after my second year and moved to London (England).

An anxious, muddy princess scaling a vine-covered wall in the hope of retrieving her pink kitten heels.

All the characters and stories I make are vignettes of my life. I don’t necessarily look or dress like my characters, but they all encompass something that I feel deep down. When I draw these characters, I want to make them confident, intimidating, strong – all attributes that I know I have but want to express in my daily life. My drawings will always be seen through a feminist lens because feminism is a belief that I’m always fighting for and will always care about.

About two years ago, I was working only digitally and found that I was beginning to lose the spark I once felt for drawing. I missed feeling the paper and getting my hands covered in ink. I missed holding onto originals and feeling precious about my work. Working with newsprint and felt-tip allows for my work to be more approachable as well as contain more mistakes, which I find truly endearing. I don’t want my work to look stiff anymore!

It’s a bit tricky to describe but in my first year of university sculpture class, I made a really large and lumpy wood box positioned on a platform. I covered this box in plaster with a fish tail leading off it, then staple-gunned blue faux fur around the top and added a big fuzzy jumper to the whole mess. It’s a really confusing picture. I used to store books and knick-knacks in it, but now it’s just sitting in my mom’s basement.

Definitely! I’m constantly referencing purses and shoes I find in thrift stores. It’s my way of sharing my finds in an unusual way. I tend to steer away from directly imitating any sculptures I find, since I’m afraid of copyright issues. But I can safely say that my sketchbook is filled with one too many drawings of Russ Berrie figurines that the world will never see.

‘Anime collectors PVC Figurine girl with wings’, ‘ladies real polished vintage coconut handbag purse’, ‘I Love You This Much by R & W Berries Co's pink figurine.’

I love both of those artists you listed! I’m a huge fan of outsider/folk art alongside comics, it’s the art nook that inspires me the most. Susan Te Kahurangi King, Royal Robertson, Annie Pootoogook, Mingering Mike, etc.; there are so many talented folk artists out there whose work has really hit me. When approaching my own work, I tend to think about these artists and the honesty they yield with art. I want to work at being more vulnerable, more relaxed and more transparent with my drawings.

Something very boring, like being able to fly or knowing all the lyrics to any song.

First is Melody, by Silvie Rancourt: I discovered this book when I was visiting Drawn and Quarterly. It’s an incredibly silly yet heartfelt story about a young woman in Montreal who begins stripping in order to make ends meet. The drawings are charming, simple and incredibly enticing. I remember devouring the book on the train from Montreal to Toronto – one of the best train rides of my life. Second is Gold Pollen and Other Stories, by Seiichi Hayashi: I can confidently say that this is one of the best comics ever published, as well as one that has changed my life. It’s a collection of Hayashi's works from the late ‘60s to early ‘70s. The drawings are effortless yet complex, the stories are poetic and lively, the colour works are a masterpiece, and it will leave you drooling and wanting more. And lastly, The Best of Ernie Bushmiller's Nancy, by Brian Walker: When I read Nancy, nothing is wrong in the world. I’m at peace. I’m happy. I’m straight up laughing!

I think that’s a definite possibility! I’m still trying to work on a grid to see how my wobbly ways can harmonize on a page. I really rely on the grid to be able to tell a coherent story, but I do like the idea of doing things a bit upside down. I tend to get bored easily, so there’s a big chance I’ll quit the grids in a few years.

Yes! It’s taken a while but I do feel like I finally have a formula for my drawings, which makes creating new work a lot less intimidating. I remember when drawing just felt like a fluke. Now I know how to approach my work and what the outcome will look like. I think this shift occurred naturally from practice. I also made a strong effort to stop comparing myself to other artists. With time you find what you like, what interests dictate what you draw, what colours move you, etc. It really is all about growing.

I’m in a group show curated by Heather Benjamin called Maiden Form at Andrew Edlin Gallery (New York). I’m currently working on a new comic for Mould Map, edited by Hugh Frost and Leon Sadler, and a new comic by Breakdown Press to be published in the fall. I have a new zine out with Nieves Books, as well as some self-published titles available on my website.