Terf Gang – Art Prints series
For those familiar with my practice, it will be evident that my work has long been informed by the legacy of women’s resistance—an enduring lineage of defiance, perhaps most potently embodied in the figure of the Witch. The Witch, historically, has served as an archetype of rebellion, a woman who stood in opposition to the structures of patriarchal authority, religious dogma, and institutionalised violence committed against women because we are women. Persecuted en masse yet never eradicated, she remains an indelible emblem of dissent.
Yet, the so-called witches were, in reality, simply women—women whom patriarchal structures and the men who upheld them designated as expendable. Their trials and executions functioned as spectacularised acts of control, designed to instil terror and secure submission among those who remained, those who were spared.
The erasure of these foremothers has left an immeasurable void—historically, culturally, and psychologically. The wounds inflicted by centuries of persecution, the generational trauma engendered by these purges, and the colonial imposition of their ideological frameworks persist as unresolved legacies. These histories remain marginalised, their significance underestimated, their consequences largely unexamined. And yet, the cycle of resistance endures. Women have always resisted. Women will always resist.
Each generation reignites this defiance, each act of insubordination a continuation of an unbroken legacy of rebellion. Every woman who refuses subjugation is cast as a witch—feared, vilified, and subjected to the very same mechanisms of social and political silencing.
In the present moment, amid intensifying ideological conflicts, namely the gender Wars, a new incarnation of this dynamic has emerged: “TERF” as the contemporary Witch. The term, weaponised to intimidate, to ostracise, to erase, mirrors historical patterns of persecution. The spectre of the witch-hunt is never fully exorcised; it resurfaces cyclically, a tool of coercion, a warning of punitive consequences. The tactics remain consistent—public denunciations, calls for eradication, the spectre of violence as both a threat and a spectacle.
Consider, for instance, the case of Tony Cooper, a gay patriarch who, while compering at Manchester Pride, openly declared that the lesbian protesters of London Pride 2018 (Get The L OUT) should have been “dragged off by their saggy tits.” His remarks—brimming with misogyny, ageism, and lesbophobia—were not met with condemnation but rather with applause from an audience only too eager to articulate its misogyny under the guise of progressivism. The moment encapsulated the disturbing ease with which hatred against women, and lesbians in particular, is not only tolerated but celebrated.
Yet, this attempt at subjugation has failed.Terf as a slur has failed.
Once again, we have taken their slur and made it our own—without shame, without apology, and with unrelenting furious defiance.
Here we stand as a collective. The Terf Gang. Uncompromising. Unapologetic. Unbowed. An hommage to every woman who has fought, who continues to fight, and who will fight.
Join us.
Creative Process
The Terf Gang print is hand-printed in black ink on acid-free Lokta Natural Paper.
As with all hand-pulled prints, each piece bears subtle variations, its textures and imperfections forming a unique imprint of the process. The paper’s fibrous surface enhances the depth of the ink, lending each print a distinct presence.
Further individualised, every piece has been hand-modified—details meticulously painted in gold ink—ensuring that no two prints are ever identical.
Limited Edition of 8
Each print is one of a kind.
Each print is hand-numbered, stamped, and signed on the reverse.