Like judging a trial without knowing the crime, a nonlinear journey is depicted using reoccurring symbolism of snakes, goats, and dogs. These seemingly incongruent moments fuse to unveil previously concealed or forgotten memories. The sensitive iconography acts as a personal methodology to come to terms with my mother’s death, inviting ever-evolving reinterpretations of an intimate mythology. In the work, negative space creates room for ambiguity, forming a liminal space where the images become open to interpretation.

The titles are taken from bittersweet snippets of conversations my mum and I had and now late-night discussions my little sister and I share before bed. The imagery I paint is inspired by these, not as a literal depiction, but an embodiment of the sensations that memories provoke but cannot be put into words.

People emerge as other worldly beings, perhaps they are ghosts, gods, or vessels. The sensitive touch of watercolour embodies this unearthly presence, as if on the verge of simultaneously appearing and disappearing. It is unpredictable to paint with, every touch is permeant but appears ephemeral. Its volatility allows for a fleeting choreography, playing with solid interactions between inhabitants. Such as the promise of a bite piercing delicate skin or broken lines freeing the images to float on a liquid expanse. A new space is created, embodying a moment that once realised no longer exists.