FRANKiE BOYLE: UNSPOKEN FREQUENCiES.

Frankie has a language disorder, which means she has always moved through the world differently, reading into hidden languages like tone, body language, space, rhythm and, crucially, light. This sensitivity is central to her work. Where others focus on verbal narrative and semantic explanation, Frankie builds spaces that communicate through light and emotional response.

In her show at EDiT Covent Garden, Frankie will showcase a collection of light pieces that draw on the core of her practice: how light communicates within spaces and how it connects with us. Frankie brings her vision into a domestic context, reminding us that our homes are more than just physical structures: they are emotional landscapes that can be shaped, softened, and illuminated. In her hands, light becomes a powerful tool for meditation, drawing the viewer inward and inviting us to reconsider the environments we live in every day.

Frankie’s use of colour and movement works as a metaphor for the fluidity of identity, cultural dynamics, and collective experience. Just as our homes shift with the seasons, with gatherings of friends, or with moments of solitude, her colours shift and reflect, mirroring our changing emotional landscapes. In these environments, light is not only seen but felt; transforming the home into a place of reflection, restoration, and connection. Frankie’s work is an invitation to slow down, turn inward, and reimagine the home as a space alive with nuance and possibility.

Frankie did not set out to become a light artist, at least not consciously. While studying fashion on her foundation course, a tutor casually remarked, “You’re rubbish at fashion, but you are obsessed with light.” This throwaway comment cracked something open. Looking back through every sketchbook and project, the evidence was obvious: light was always there, running through everything like a thread. She describes the realisation as someone telling you, “Did you know you really like breathing?” Frankie’s appreciation of light was so innate, so fundamental, it had never occurred to her that it was a choice, or that others were not seeing or feeling the world in the same way.

Frankie’s relationship with light is neurological, emotional, and practical. Living with what she now retrospectively understands as ADHD, and having faced constant miscommunication due to her language disorder, she found in light a fast, intuitive way to make sense of things. “Light is the quickest way of communicating,” she explains. She learnt how to make this language programmable, and started to speak in light through code.

She studied 3D Design at Brighton and recalls electrocuting herself constantly as she began working with light, figuring things out by trial, error, and instinct. Her practice today remains deeply intuitive and responsive. Because she works regularly to commission, her process often begins the moment she enters a space. “Light never behaves the way you expect,” she says, so every project is an experiment in nuance, an experiment in making spaces, like homes, that feel alive and responsive.

Frankie’s creative mind is never still. Each time she closes her eyes, she sees textures, colours, and a constant overload of images. She manages this by separating her working days with discipline: starting with gratitude journaling at 6:30 a.m. and exercise, then handling admin work around 9 a.m., before allowing the afternoons for creative work. She has learnt that it is impossible to be creative and logistical at the same time, so she keeps those realms apart.

Unspoken Frequencies will also feature a collaboration between Frankie Boyle and artist Dave Buonaguidi with an artwork named Perfectly Imperfect. This piece also encourages us all to sit in the space of not knowing and challenges us to sit comfortably with the feelings and emotions that arise.

Connection is, in fact, the golden thread in all of Frankie’s work. Whether through an immersive installation in Washington D.C., where she quietly watched strangers sit together, arms wrapped around one another, gazing into her work as if it were a fire, or through smaller encounters, her purpose is clear: to help people feel more deeply, more safely, more together. Her installations are not passive objects to be viewed, they are invitations to be in conversation, with yourself, with others, with the space around you.

There is a duality at play in everything she does: the personal and the political, the nervous system and the social system, the visible and the felt. Her pieces carry both, side by side: what is spoken and what is experienced.

In the end, Boyle’s work is a form of research. She is constantly asking: When do people connect? How? Why? 

Frankie Boyle offers something rare: environments where we can slow down and reconnect. Like the home itself, her work is a place to return to, a reminder that our surroundings can hold us, restore us, and bring us together.