Borders, 2024–

A group of paintings in which, I hope, questions of boundaries—especially those concerning the nature of possession, ideas of belonging, and relationships between inside and outside—acquire new salience as a result of the means of mediation. These works shift in appearance in concert with the light in which they are viewed, translating the source photographs into unstable images, increasingly untethered from a specific time or place. Form emerges from formlessness before dissolving once more; being and becoming are offered in constant renegotiation.

The subject matter focuses on the decades following the second world war. It is characterised by a broad preoccupation with humanity's relation to animality and technology. From old newspaper cuttings found in the institutional archive of an artist's adolescent poems to images I took when flying over Greenland, a more particular concern is the energy generated in the space between visibility and invisibility in an age of nuclear fallout and potential annihilation. These concerns entangle with the related series of clouds and hands, as well as the New Light body more widely.