Brutally sensitive and delicately powerful, Annie’s essential area of focus is the human body. Annie Edwards is a multidisciplinary artist and lecturer, currently studying Sculpture at the RCA. Her work distorts a familiar sense of reality by incorporating hyperreal robotics with abstraction. Annie’s sculptures, performances and installations aim to understand the body from biological, neurochemical and social perspectives that determine the physical mechanics of the work. Annie draws on her background, using personal experience to reference wider systems of control present in domestic, medical and industrial environments. Having exhibited Uk-wide and internationally, Annie was recently invited to perform at Somerset House for an all-woman exhibition. 



A fragmented, contorted, butchered sense of identity is referenced in the work. Informed by feminist theory and thinkers such as Carol J. Adams and Donna Haraway, Annie explores the commodification and objectification of the female body—how it is consumed and systemically processed to be palatable, desirable and synthetic. She draws explicit parallels between the mass consumption of meat and the medicalised, scrutinised female body, challenging the viewer to reckon with their own participation in systems that fetishise and dehumanise. Her work often references abattoir architecture, meat hooks, and suspension systems as visual and structural metaphors for powerlessness, vulnerability and containment. Annie’s tight aesthetic colour palette and specific choice of materials reference the medicalised female body and its under-representation in medical science.

Annie’s animatronic and wearable sculptures evoke dependency on machines as both literal and metaphorical life-support systems. These devices do not simply extend the body—they underscore its fragility and precarity, highlighting how many bodies, especially those of women and neurodivergent individuals, rely on external mechanisms to survive or be understood. The animatronic elements imbue the once inanimate, traumatised body with life, movement and a new voice. In performance, Annie frames her own body as machine, using her sculptures to automate the body, creating uncanny loops between autonomy and control, resistance and submission.

Through subversive playfulness, Annie transforms the body into a sculptural site of reclamation. Her work is charged with contradiction—tactile yet repelling, alluring yet grotesque. She occupies a liminal space between vulnerability and agency, destabilising normative ideals of health, beauty, consumption and womanhood. By embracing nonconformity—particularly in relation to neurodiversity and medical invisibility—her practice opens up new ways to understand, inhabit, and reclaim the body. Here, clinical and carnal, mechanical and organic, grotesque and sublime, collapse into one visceral, defiant whole.