Thinking of the term “craft” as a transformative and non-linear process, my work aims to rebirth politics behind the workshop. The processes of woodcarving are similar to the rules and structures of a game. Strategies are employed to navigate the inherent limitations of the material and there are consequences should one deviate from the path. My playful approach to carving is inspired by Sister Corita Kent’s method of ‘plork’ which advocates for an amalgamation of the methods in-between the poles of the work/play binary. “Playing” brings the body back into the forefront by concentrating on the haptic experience of woodcarving. Carving only recycled wood from scrap, the idea of transformation is central to my practice. My research of Queer Theory and the metaphysical concept of becoming involves harnessing the instability of the body which is translated by negotiating with the unforgiving and knotty pine. By embracing the temporal or fragmented aspects of the body, my figurative works resist binarised categorisation with no clear gender or defined level of completion. During this period of isolation, I began to establish an online community and my practice became more socially engaged. I created the online art collective Queering the Workshop (2020.) to dismantle stereotypes in traditional woodwork and craft, advocating for intersectionality. The term ‘Queering’ is used as a means of dislodging the hegemony of heteronormative whiteness, ableism, sexism etc. Queering the Workshop is not a criticism of the workshops we encounter today but seeks to investigate the interrelationship between the making of woodcarvings and the doing of queer.