My practice is not medium specific, but most of my ideas are expressed through a flat image. I enjoy creating kaleidoscopic worlds in which the artist’s hand speaks with mechanical processes. I concern myself with the dialogues that emerge through the layering of paint and printed digital images, exploring this in a playful, yet considered manner. I also have a vested interest in video making and the concepts behind the filmmaking process, such as light, and it’s ephemeral qualities which I often juxtapose with the material processes of the painted image or sculptural works. A common thread throughout my work, has been a focus on identity, subjective experiences, intimacy, the self, emotions and the face. I incorporate imagery evocative of Sri Lankan craft and textiles, stitching this to my English upbringing and westernised understanding of art, film and media . American Filmmakers such as David Cronenberg, Paul Verhoeven, David Lynch, John Carpenter have all been influential, with their focus on body horror narratives. The Sri Lankan masks I have studied also regularly depict grotesque, demon possessed faces. Repeated motifs and constrained imagery/iconography is also a major factor in my work. Appropriated and deconstructed imagery of Sri Lankan masks and textiles have formed the foundations of many compositions. These traditional wood-carved masks are both aesthetically and conceptually captivating. Conceptually, their contemporary status as tourist commodities raises questions on authenticity, as their traditional, spiritual meanings have slowly diminished over time. Broadly speaking, I am fixated on the concept of authenticity, with the Sri Lankan masks acting as an microcosmic illustration. These concepts are of particular relevance in the 21st century, as we are immersed in a post-truth, hyper commodified environment, in both the real and online spaces. These questions on the authentic also tie back to identity, the portrait and the self.