Over the past year, I’ve found myself increasingly interested in the cultural contexts that shape an image. Not just the figure itself, but the world around it, the textures that frame it, and the visual languages it can borrow from. The work has been drifting toward three overlapping territories: fashion‑inflected figure studies, location‑based nudes, and documentary‑leaning moments that feel lived rather than posed.
What ties these strands together is a growing desire to place the body in relation to something – to clothing, to space, to light, to atmosphere. I’ve realised that I’m less interested in the nude as an isolated symbol and more interested in the nude as a sculptural presence, even a cultural presence, within a wider environment. Clothing, when it appears, isn’t about style or glamour; it’s a structural element, a counterpoint, a way of shaping the silhouette or shifting the emotional tone.
Location has become equally important. A figure in a woodland path, a quiet room, or a coastal edge carries a different kind of weight. The environment becomes part of the composition, part of the narrative. The body stops being a subject on a blank stage and becomes something that belongs to the space, alters it, or is altered by it.
And then there’s the documentary thread: the quiet, unguarded moments where the figure feels observed rather than performed. These images have taught me that presence doesn’t always come from pose; sometimes it comes from the in‑between gestures, the transitions, the way someone inhabits a moment without trying to shape it.
Together, these influences have pushed me toward work that feels more contextual, more atmospheric, and more grounded in the relationship between body and environment. The sculptural qualities of the figure are still central, but they’re no longer the whole story. I’m interested in how the body interacts with fabric, with architecture, and with other people – how it becomes part of a scene rather than the sole focus of it.