In my world, hyper-masculine cowboys are underwhelming lovers, tragic country music stars appear on rhinestoned TV sets only to have their performances interrupted by chaotic Lynchian-style advertisements; a vampiric Margaret Thatcher pours blue-top milk over herself in sheer elation after the news of her party’s election success, and gender-non-conforming turn-of-the-century Birmingham crime bosses can time travel to present-day to perform cabaret at Manchester house parties. These characters are as chaotic as one would imagine and each is served with a characteristic combination of pomp, queerness, repugnance, and glamour. They are shapeshifters that manifest to audiences across many different media. This multidisciplinary nature of my practice, which operates across performance, film, installation and painting, is best and most simply explained by, filmmaker and painter, David Lynch: “Some ideas are films and some ideas are paintings” (David Lynch, Lynch on Lynch, 1993)
