FRANKiE BOYLE: UNSPOKEN FREQUENCiES.

Renowned light artist, Frankie Boyle, brings her incredible visions into the home in our inaugural exhibition in EDiT. Covent Garden. In UNSPOKEN FREQUENCiES, Frankie’s incredible vision is made home ready while continuing to explore the ways we experience spaces. In light of her upcoming show, we spoke with artist Frankie Boyle about her practice, her ethos, and her unique perceptual lens.

THE DEETS:

Where? EDiT. Covent Garden, 69 Neal St WC2H 9DA

When? Exact dates are TBC as we are adding the finishing touches to the space - but whenever it opens, we'll be CELEBRATiNG all things light on the 24th October, from 6pm to 8pm.

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Frankie Boyle creates artworks that speak not just to the eye, but to the body, nervous system, and subconscious mind. Working with light, her practice explores how environments, whether public or domestic, shape human behaviour, mental health, and connection.

At the heart of Frankie’s work is a desire to create spaces that help people feel, rest, and reconnect. In a world increasingly dominated by overstimulation, digital noise, and rigid categories, Frankie’s goal is to offer environments that shift us from states of anxiety and burnout into modes of rest, processing, and healing. Just as the home functions as a place of refuge, her light installations create spaces that restore balance and allow us to breathe.

“OUR BODiES CRAVE NATURAL RHYTHMS & CYCLES”

Frankie’s installations often act as a kind of urban nature, where we can experience changing light, organic forms, and contemplative spaces that mirror natural cycles. These restorative patterns remind us that our environments are never neutral, they regulate, dysregulate, and restore our inner worlds, just as the atmosphere of a home can either soothe or unsettle.

"i HAVE NEVER PUT LANGUAGE FiRST & MY OTHER SENSES HAVE GROWN"

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.

"LANGUAGE MOVES THROUGH ME LiKE A SiEVE"

Frankie’s work connects deeply to our emotions and intuitions. She is guided by a desire to create spaces, especially within cities, that support mental well-being and human connection. Much like the home can, her installations function as environments of safety and renewal.

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.

Her foray into text based work has been an interesting journey for her. She admits, “Words are the antithesis of who I am,” but in a world desperate to classify and define, Frankie’s glowing words ask us to be curious. What Did You Just Call Me features illuminated text that challenges the need to understand. Her words are defiant, encouraging us to sit in a space of ambiguity.

Frankie Boyle has also collaborated with 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.