Ellie grew up in Kent, England, where she attended a local grammar school and first discovered her enduring fascination with people, not simply who they were, but why they were. While she struggled to conform to rigid systems in her late teens, often finding refuge in the art room as the only place that felt truly safe, this period marked the beginning of her lifelong commitment to expression and observation.

She went on to study Art and later Psychology at undergraduate level, where her creative and academic interests intertwined. During this time, she began developing work centred on generational trauma, particularly the inherited narratives surrounding women’s bodies and subservience. Although her path was not linear, her deep curiosity about human behaviour and the untold histories carried quietly by others remained constant.

After completing a postgraduate degree, she began her career with a clear intention: to create the kind of safe space she had once needed herself, particularly for those who struggled to conform to rigid systems. Her work in schools was driven by a desire to protect individuality and emotional safety within institutional structures. It was during her first year of working full time, in a period of profound solitude and personal upheaval, that her writing truly emerged. Removed from the constant presence of others, the very thing that had always grounded her, she turned inward, and in that stillness began putting to paper the thoughts she had long carried. While helping to navigate a friend’s story of domestic abuse, her work took a turn. Witnessing second-hand silencing forced her to confront the pervasive structures that protect power and question vulnerability. Through these experiences, she developed a quiet, self-reliant strength.

Her writing, once an extension of her art, became its own form of resistance. I Just Want You to Feel Something was born from that transition, from fragility to voice, from observation to conviction. She remains endlessly fascinated by the billions of untold stories carried quietly by others and writes in the hope that feeling deeply might be the beginning of feminist change in a period of regression.