Imperfect is a series of nearly fifty large-scale canvases developed during my time at the Royal College of Art. In these studies, I’m exploring how memory, identity, and physical resilience can be embodied through paint. Working with oil, peinture d’essence, dry media, gloss, and sgraffito, I use both traditional and experimental techniques to create surfaces that feel layered, disrupted, and tactile—acts of painting that are as much about erasure and exposure as they are about depiction.

The title refers to the gradual breakdown of form, meaning, and certainty over time. I’m interested in how we hold onto sacred or monumental ideas—particularly around the figure—even as they disintegrate. The format evokes the structure of a devotional altarpiece, but instead of offering resolution, the work leans into fragmentation and ambiguity.

This body of work is rooted in lived experience, particularly my interest in physical disability, vulnerability and resilience in the face of abelism and body fascism . The figure appears not as a fixed form, but as something shifting—distorted by memory, time, and material process. These are not illustrations; they’re meditations on presence, loss, and the weight of remembering.