Invoking the irony, artifice and theatricality 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 artificial, fictitious space for theatre, performance and masquerade.
Using readymade and everyday materials, characters are assembled through costume that simultaneously conceal, transform and abstract the body. These figures exploit the texture, colour and plastic surface of their artificial second skins.
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 frame.
These highly stylised and exaggerated transformations are regenerative, they form part of an ongoing inventory of photographic self-projections. Each character exists in a solitary confinement within its own digital habitat. The hyperreal digital terrain shifting from image to image.
These characters/ creatures/ beings are always at a precipice, incongruous and in a state of visible conflict. Locked between Human/ Other; comedy/ sorrow; high and low culture. Their lurid colours jar against their listlessness. Their supernatural new forms render them incapable of the simplest tasks. Their vivid environments made strange and their masking isolating.
Ultimately, these works aim to explore the boundless new potentials for performing and framing the self that emerge on the stage of the digital image