This series combines figures and scenes drawn from different moments within film, bringing together elements that do not originally coexist. Foreground and background are taken from separate points in time, allowing characters and situations to intersect in ways that were never filmed or directed.

Through this process, the original narrative is disrupted and reconfigured. What appears familiar becomes uncertain, as the image no longer belongs to a single sequence. The painting becomes a site of construction, where meaning is shaped through selection, placement and edit.

The artist assumes the role of editor, working with the language of cinema while shifting it into a fixed image. These constructed scenes exist only within the painting, forming new narratives that remain unresolved and open to interpretation.

By translating these edited images into paint, the work holds them in place. The viewer is invited to engage with a moment that feels recognisable, yet no longer fully coherent, where narrative is suspended and continually reimagined.

 

"In these works, familiar images are reconfigured, inviting multiple readings. Meaning is not fixed but shaped by the viewer, who brings their own experience and interpretation to the image. The paintings hold this uncertainty, allowing narrative to remain open and unresolved."

Michael Day, Artist, Director.