Artwork.

Art you can sit on. At first glance, this appears to be a stool cluttered with the intriguing remnants of a night left behind. Look closer, and you’ll find a hyper-realistic, hand-painted illusion.

Transforming functional furniture through meticulous trompe-l'œil oil painting, this piece explores the intimacy of the subcultural objects we leave behind. Capturing the rigid, textured weight of leather straps and the cold gleam of metal buckles, it turns an provocative arrangement into a striking visual deception.

Personal Pleasures is a provocative contemporary reimagining of Caravaggio’s Baroque masterpiece, Boy with a Basket of Fruit. The painting subverts classical art history by replacing traditional symbols of fleeting youth and natural abundance with modern emblems of intimacy, desire, and bodily autonomy.

By blending the meticulous, luminous techniques of the Old Masters with contemporary adult counterculture, Personal Pleasures explores the intersection of the sacred and the profane. It challenges the viewer's perception of "fruitfulness" and pleasure, presenting modern sexuality not as a hidden taboo, but with the same romantic, elevated dignity afforded to classical still-life and portraiture.

Art you can sit on. At first glance, this appears to be a stool cluttered with the discarded remnants of a day left behind. Look closer, and you’ll find a hyper-realistic, hand-painted illusion.

Transforming functional furniture through meticulous trompe-l'œil oil painting, this piece explores the intimacy of the everyday objects we leave in our wake. From the soft, familiar folds of the sportswear to the crisp white cotton, it turns a common domestic scene into a striking visual deception.

“Metamorphosis” reimagines the myth of Apollo and Daphne at the moment of transformation. Instead of escape, the figure embraces his fate, finding peace in becoming something new. The painting reflects a personal journey within the queer world - suggesting that transformation can be an act of acceptance, not surrender. 

"Morning" explores the quiet sensuality of first light, using the human form as a vessel for studying contrast, warmth and atmosphere. The figure sits in a moment of stillness, their back illuminated by a soft, rising glow that carves out muscle, curve and texture. While there is an undeniable intimacy to the pose I've chosen, the work is driven by my fascination of how light shapes the body - how shadows deepen the spine, how warmth pools across the skin and how morning light can be both gentle and revealing. This piece is less about sexuality and more about presence: the private, unguarded moment when a new day begins and the world is briefly reduced to light, form and breath.

"Dunce A" distils the same emotion as its companion "Dunce B" into something more intimate and direct. Without the props or the body language to distract, the face becomes the confession. The smeared makeup, the stark hat and the soft, almost resigned expression reflect that private moment when embarrassment and clarity collide. When you finally acknowledge, "yes that was me'. This painting speaks to the beauty found in my own vulnerability, in admitting what you once believed and outgrew and in recognising the gentleness that emerges when/ if you forgive your past self. 

"Valley of the Dolls" is a 60 x 60 cm painting inspired by the book's enduring themes of beauty, pressure and illusion. A lone figure floats in a pool, clinging to a bright red inflatable ring that doubles as a symbolic target. The piece reflects the idea that when perfection becomes a facade to float through life, the world still finds a way to place a mark on your back. A vivid exploration of vunerability beneath surface-level glamour. 

"Dunce B" sits at the heart of the collection "Dunce" - a portrait of confronting my own missteps with a mix of shame, humour and vulnerability. The dunce hat becomes symbolic of a stage costume, marking the figure not as punished but as self-aware. The cigarette, the empty martini glass, the broken heart among the whole ones: each small symbol circles the feeling - the moment after a painful realisation, when you finally stop pretending and have to sit with yourself. It's not about heartbreak so much as the quiet reckoning that follows, the strange tenderness you can feel towards you own fatal flaws. 

"À rebours" is a mirrored self-portrait inspired by "The Picture of Dorian Grey", showing not how others see me, but the reversed image I know from reflection. White roses rise from my jacket as symbols of purity and growth, while a single blood red bud hints at temptation and the first bloom of corruption. Elegant and slightly uncanny, the painting explores vanity, transformation and the tension between innocence and the darker paths we are drawn towards.

“Contented and Serene” is a quiet study of light and shadow—a moment stripped back to its essentials so that illumination itself becomes the subject. By removing colour from nearly the entire composition, I wanted to let the light breathe freely, allowing its softness to shape the figure, the bedding, and the mood. Only the areas touched directly by sunshine carry the faintest veil of colour, a subtle reminder that warmth and hope can exist even in the most muted spaces. This piece is a reflection on stillness, presence, and the gentle but persistent truth that there is always light if you look for it.

This fine art oil painting reimagines Dorothy Gale—iconically portrayed by Judy Garland—in a reverent, saint-like pose. She stands elevated on a vivid poppy, holding symbols of her companions: a scroll for the Scarecrow’s wisdom, a medal for the Cowardly Lion’s courage, and the Tin Woodman’s heart resting over her own as a sacred emblem. Ruby slippers float beside her, completing the transformation of a classic character into a figure of mythic devotion.

The hand-crafted frame is an artwork in itself, created from card, resin, Apoxie Sculpt, and wood. Winding from the upper right corner downward, the entire story of The Wizard of Oz unfolds in sculptural detail—from the chaos of the Kansas tornado to the shimmering Emerald City—turning the piece into a narrative reliquary.

This is a true one of a kind painting and frame, a richly symbolic homage to an enduring tale, and a striking centrepiece for any collection.

"Forbidden Fruit" reimagines the ancient story of temptation and sin through a contemporary, sensual lens.The figure meets the viewer's gaze while teasingly tasting a pomegranate - one of the earliest depictions of Eden's fruit. The gesture suggests a deliberate step into desire, a conscious embrace of what is "forbidden". Yet the pomegranate, long associated with fertility and renewal, complicates the narrative: even a life marked by transgression can still hold the promise of creation and vitality. This piece balances seduction, symbolism and quiet defiance. Inviting the viewers to reconsider the boundaries between sin and life.