From the body of work Duration

Duration considers the passing of time and its material and philosophical effects on a place, a people, or a person. Its point of departure was visual: the contrast between hidden and revealed blocks of light, where time is registered as the slow shifting of what is seen and what is withheld.

The same concern extends to the making of the work itself. Human creativity is bound to the temporal reality we live in. Artists tire, forget works, begin them, abandon them and return to them later. A painting carries that irregular history on its surface. This is a condition I have examined through my academic research and studio practice on generative AI, and it marks one of the areas where machine production cannot match human making: it has no duration to undergo.

The Ferryman takes its title from the figure in the myth of the River Styx, who carries the dead across the water. Time is the river here, and the ferryman is the one who conveys us through it. The composition draws on Caravaggio’s Crucifixion of St Peter, particularly its handling of light and the weight of bodies caught in a moment of passage. Like Caravaggio’s canvas, the work holds a threshold, between one state and the next, in the tension of light emerging from darkness.