British-born, Barcelona-based. Rae is an art director and multidisciplinary visual creator working across screen, space, and live experience. She spent over a decade in UK film and television art departments; building, making, and problem-solving on productions that demanded both creative precision and real-world delivery. That background informs everything. Whether directing a shoot or working in the studio as @PopGlitch22, her experimental art practice, the approach stays the same: rigorous, considered, and built to exist in the world rather than just on a screen.

She is also co-founder of The (22) Studio, a 240sqm creative space in Barcelona built for artists, brands, and productions to shoot, build, and experiment – a natural extension of the same instinct to make things that hold up in physical space, not just in a frame.

Live visuals:

Real-time visual performance for festivals, concerts, and events. An extension of the PopGlitch22 practice – taking the same glitch, distortion, and channel-split language and pushing it into a live, reactive context, where the image is being built and broken in real time in front of an audience.

Production Design

A decade in UK film and television art departments. The discipline of making things that work on set and on screen – sourcing, building, dressing, and problem-solving under the pressure of a shoot day, where an idea has to survive contact with a production schedule and still look right in camera.

// screen credits (selected)

West Is West – Art Department · Feature Film
Emmerdale – Art Department · Television
The Cottage – Art Department · Feature Film
Life on Mars – Art Department · Television
Shameless – Art Department · Television
Housewife, 49 – Art Department · Television (BAFTA-winning)

Full credits on IMDb.

PopGlitch22.

PopGlitch22 is Rae’s experimental art practice: the space where the personal and the process collide. Working with analogue double exposure, glitch distortion, RGB channel splitting, pixel decay, and image manipulation, the work uses the body – most often her own – as both subject and material. It sits somewhere between documentary instinct and deliberate malfunction: images that are shot, then broken, then rebuilt.