Invoking the parody, artifice and excess of a Camp sensibility, the work centres around the conjuring of multiple selves through the photographic image. In doing so it relies on the photograph as a highly contrived and fictitious space ripe for performance and masquerade.
Using readymade and everyday materials, characters are assembled through costume that simultaneously conceal, transform and abstract the body. These figures call attention to the surface, they exploit the texture, colour and shine of their artificial second skins. As portraits they engage a double bind, both concealing and revealing, drawing the viewer inward before ultimately eluding a close inspection.
With the body adorned, performances are constructed and staged entirely for the camera, static vignettes plucked from an implicit wider script, characters are suspended mid scene within the confines of the manicured frame.
These highly stylised and exaggerated transformations are regenerative, they form part of an ongoing inventory of photographic self-projections. Each character stands in solitude within its own digital habitat. The hyperreal digital terrain shifting from image to image.
These characters, creatures, beings exist at a precipice, incongruous and in a state of conflict. Frozen between human/ Other; comedy/ sorrow; high/ low culture. Their lurid colour jars against their listlessness. Their uncanny forms render them incapable of the simplest tasks. Their vivid environments made strange and their masking isolates.
Central to the work is the deployment of Camp as a means of queering photographic practice. Each image revels in the spectacle and surface central to a Camp aesthetic and each act of concealment aims to resist a normative reading, queering the represented body through sculptural malformations.
This displacement and defamiliarisation of the body toys with the conventions of traditional photographic portraiture and undermines the notion that the camera possesses an inherent potential to reveal a unitary and essential self.
In an age of endless self-imaging, this work is part of a wider practice that aims to explore the boundless new potentials for performing and framing the self that emerges on the stage of the digital image.