"DAMNATION"

Meat for the Gods is a 180 x 115 cm digital painting printed on Portobello canvas. A grand horizontal tableau inspired by Baroque banquet scenes and sacrificial rites, the work depicts a group of reclining women — lush, bruised, and offered like fruit. Their expressions range from ecstasy to absence, from performance to detachment.

This piece interrogates the aesthetics of divine femininity and the consumption of the body as both spectacle and service. Drawing from religious mythology, vanitas symbolism, and Romanticist light, the painting becomes an altar — and the women, the offering.

Central to the Damnation series, Meat for the Gods stages beauty as a currency, and sacrifice as performance. It’s not about consent. It’s about survival.

Think Pretty Thoughts is a 30 x 30 cm digital painting printed on wood. Echoing Romanticist portraiture and vanitas still life, this piece explores the quiet grotesque of beauty, obedience, and the subtle violence of being watched.

The central figure wears a white bridal dress and bows her head gently. But her skull is cut open like a cracked porcelain bowl, revealing a surreal bouquet of flowers, maggots, and pearls spilling from within. A shadowed male figure looms behind her, holding a sludge-drenched knife to her neck. Below, another opened skull rests — echoing hers — filled with the same sickly bounty.

This is not a scene of death, but of performance. Of being beautiful and good while rotting inside. Of swallowing the knife and smiling for the audience.

Part of the Damnation series, this painting turns femininity into a theatre of quiet horror — lush, mournful, and intimately cruel.

Leak is a 30 x 30 cm digital painting printed on wood. The piece captures a woman mid-transformation — or mid-confession — as thick black liquid pours from her mouth and down her chest. Her eyes are wide, her body still, her silence broken by something unstoppable.

This painting explores repression, trauma, and the uncontainable force of truth. The figure is not in control — but she’s also not a victim. The act of leaking becomes both curse and catharsis.

Part of the Damnation series, Leak is painted digitally to mimic the texture and drama of oil portraiture, pairing baroque aesthetics with contemporary horror.

Preburn is a 30 x 30 cm digital painting printed on wood. The scene captures the moment just before execution — a young woman bound and prepared, surrounded by torchlight and onlookers. She does not cry. She does not fight. The tragedy is already decided.

This piece interrogates historical violence against women, the spectacle of punishment, and the ritualistic beauty often used to mask brutality. Drawing from Baroque lighting and martyr portraiture, Preburn confronts the aesthetics of sacrifice and the quiet horror of complicity.

A central work in the Damnation series, it is less about fire — and more about the stillness that lets it happen.

Growing Pains is a 30 x 30 cm digital painting printed on wood, depicting a hunched, female form caught in the midst of transformation. Tendrils — hair? nerves? roots? — burst from her back, writhing with both horror and vitality.

This piece explores the unseen cost of growth. Of becoming something more, something terrifying, something powerful — and the pain it demands. It’s a portrait of discomfort as metamorphosis.

Inspired by Baroque lighting and mythic metamorphosis, Growing Pains is part of the Damnation series. It sits at the threshold between suffering and strength — a visual testimony to the agony of blooming.