These installation views document my degree show works in situ, bringing together composite bodies, propositional portraits and 3D work shaped by post-digital painting methods. The exhibition gathers the processes, fragments and surfaces developed across my final year, extending the movement between digital collage, airbrushed painting and sculptural form into a single physical encounter.

This language is developed in dialogue with my dissertation, Vibrant Matters and Rhizomatic Deterritorialisation: Building a Lexicon of Post-Digital Painting, where I began to define terms for the studio logic running through the work. Across the exhibition, a vocabulary of flesh emerges through repeated bodily fragments, substitutions, staged surfaces and visible seams. Terms such as edge discipline and compression aesthetics become ways of naming how the work moves between screen and surface: from hard masked edges and airbrushed gradients to moments of distortion, compression and material translation.

Together, the works reflect on the circulation of femme queer bodies across contemporary image culture, tracing how bodies are fragmented, consumed, recirculated and made visible through digital space. The installation brings these questions into scale, surface and physical proximity, holding the body as constructed, mediated and materially present: partial, exposed, withheld and open to multiple readings.