Soho Girls draw on Hatty's teenage years exploring the myriad club-subcultures that emerged in London's Soho during the 1980s, searching for an escape from convention and a place to belong.

 
London at the turn of the decade felt like a capital city in name only. Its grimly dank streets housed pubs that closed at 11pm and clubs where women danced around their handbags. 24-hour stores were a novelty and McDonalds was still seen as an exotic luxury. But there was a beacon of life: Soho, then still a lively place teeming with strip clubs, clip joints, knocking shops, boisterous gay pubs and illegal drinking dens. In tatty Soho basements, converted restaurants and decaying theatres, a new wave of promoter began to transform unlikely spaces into legendary one-night club parties and brought their own crowd with them. Young bands, DJs, graphic designers, painters, artists, film-makers and poets all found clubs in which to display their wares and every night of the week there'd be a handful of after-hours drinking dives where trendies, trannies, hookers, villains and plain old club workers rubbed shoulders. 
 
Soho Girls are produced on a manual typewriter - what now, in the face of computers, smart phones and 3D printers, might seem like an antiquated technology is in fact a simple but powerful analogue tool for the creative process. Each piece is made in a single, intense and sometimes frenzied session, giving them a performative quality where their appearance is influenced by the body's interaction with the machine - creating textile like fragments with a sense of movement. Looming large in this process-driven approach is a sense of craft, of individual, homespun fabrication over and against the manufacture of standardised commodities. 
 
Typical of Hatty's work, these typewriter pieces incorporate non-traditional materials - such as fringing, tassels and netting - usually found in the haberdashery department and linked with the patient labour of sewing commonly attributed to women. 
 
In these works Hatty continues her exploration of a pre-determined order and repetitive action to generate abstract images that upend traditional authorial notions of composition. Predominantly made using one, or occasionally two, punctuation symbols the choice of punctuation is relevant: not only are these keys physically situated at the margins of a typewriter keyboard, but punctuation is also a system of inserting symbols into text to aid interpretation. Both the physical location of the keys and their structural function evoke the spirit of a community operating outside the margins of convention with its own codes and signifiers.