Fanny Graham

Fanny Graham aka Tiny Haunts is a miniaturist and sculptor whose work explores tiny, detailed worlds in a variety of mediums. A self-taught Pandemic hobbyist, she found solace and creative purpose during the covid lockdowns.

Influenced and inspired by a passion for film, and particularly the elevated horror genre, her creations are marked by quiet intensity and haunting atmospheres. Her more recent work is shaped by politics, with themes of survival and resistance, and reflecting a commitment to free speech and honouring women’s voices. Fanny strongly believes in the power of art to document the defence of women’s rights to single-sex spaces and to our language - with art, comedy and mirth forming our strongest arsenal in the war on reality.

Fanny’s journey with art has not been without hardship. After enduring a targeted campaign of harassment from a misogynist male client which derailed her career with an institutionally captured employer and almost destroyed her creative spirit, she found renewed strength through the supportive networks of women’s rights activism, with special thanks to Virago. Her work today stands as a testament to resilience, defiance and the healing power of art. Creating remains a grounding and sustaining force for her – a form of survival - and her work stands for the right to free expression under extraordinary duress to conform. Fanny’s work pays tribute to the ongoing struggle against fierce and hostile attacks from aggressive ideologues who are relentless in their attempts to silence us. 

"I was disappointed but unsurprised that Filia knocked my piece back.. the surprise I could not get over was that they had accepted it in the first place, being familiar with the history between their organisation and Kellie-Jay Keen. Perhaps also, with the growth of their influence, they must maintain their politically strategic, moderate position, requiring them to distance themselves from anything or anyone even vaguely controversial. I can only speculate, as their rationale for the rejection was unclear to me. I only wish we could all move past the time-wasting in-fighting and build bridges but it seems this will never happen.

I have many more mixed feelings about it.. a sense of solidarity from VWW standing behind me but also guilt due to other artists missing out because of it. I feel disappointed in Filia for their apparent capitulation and continuing animus towards KJK and LWS. I had never been to a Filia conference before and I was curious to try one. The thought of a few thousand TERFs potentially seeing my piece was exciting but there is clearly no place for it there, despite it honouring one of the most unifying movements in the resistance against trans ideology. Kellie-Jay's Let Women Speak platform undoubtedly reflects the theme of Filia's art exhibition to a fault; it is the epitome of solidarity, with women from all walks of life telling their stories and being heard and supported by other women. I think it is is sad to not acknowledge and celebrate all of their voices and experiences."