Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
Oil on canvas
130 x 100 cm
2026
My paintings begin in performance. I construct costumes from domestic objects and found images carrying social or devotional meaning. I capture myself inside these provisional figures, then rebuild the encounter in oil.
I have learned, in my queerness, to recognise myself obliquely in bodies not made for me. That desire to become something that I cannot be runs through the practice.
I grew up in a Christadelphian family in Worcester. Renouncing faith left my need for belief intact. In the vernacular, I search for a door to the divine.
The paintings preserve what remains after an invented ceremony. I like failures of transformation and disguise. They can be comic, painful, or ecstatic. I return to the point where a mask reveals rather than conceals, and where borrowed things become temporary bodies through which another hidden theatre of self appears briefly before receding, once more, into the material fact of painting.
Oil on canvas
130 x 100 cm
2026
My paintings begin in performance. I construct costumes from domestic objects and found images carrying social or devotional meaning. I capture myself inside these provisional figures, then rebuild the encounter in oil.
I have learned, in my queerness, to recognise myself obliquely in bodies not made for me. That desire to become something that I cannot be runs through the practice.
I grew up in a Christadelphian family in Worcester. Renouncing faith left my need for belief intact. In the vernacular, I search for a door to the divine.
The paintings preserve what remains after an invented ceremony. I like failures of transformation and disguise. They can be comic, painful, or ecstatic. I return to the point where a mask reveals rather than conceals, and where borrowed things become temporary bodies through which another hidden theatre of self appears briefly before receding, once more, into the material fact of painting.