studio paintings

Functioning as the campaign's relentless supporting assets, these smaller iterations explore how corporate messages are tailored across different media spaces. Some maintain the glossy, manufactured polish of direct visual advertising, whilst others adopt alternative strategies.

In select pieces, such as YOLKO 21 (2025), acrylic is allowed to soak directly into unprimed canvas, retaining a raw, organic vulnerability. This material shift operates much like corporate PR or advertorials, deliberately blurring the lines by dropping the polished ad veneer to project a fabricated sense of authenticity. This material investigation also extends to rigid wooden supports, aligning the work with the banal objects of consumption it critiques.

Across this entire campaign ecosystem, the visual vocabulary integrates graphic disruptions derived from single-use plastic straws. Applied as both diagonal slashes and rigid vertical bars, these linear elements create stark structures of confinement. They hover between the sanitised graphics of consumer packaging and the reality of a prison, visually enacting the banality of evil and the harm inherent in thoughtless consumption. By distilling the composition into these open emblems, the work avoids a didactic narrative, focusing instead on the friction between manufactured aesthetics and systemic fragility.