tuck, twist, twink
(2024 - 2025)
-
A two-year exploration of self-portraiture, identity, and image-making. This catalogue brings together photographic, performative, and installation-based works created during my Honours in Visual Communication (2024–2025). Each piece reflects ongoing research into gendered space, embodiment, and the politics of being seen.
-
Queer embodiment, gendered perception, and the spaces that shape us. Across these projects, I examine how appearance, hair, gesture, and movement influence how bodies, especially queer bodies, are read and misread in public, intimate, and hypermasculine environments.
-
A visual archive of becoming. From early experiments to final installations, this catalogue traces the shifts, risks, and discoveries that shaped my practice: navigating sport, public bathrooms, national identity, and the layered terrain of personal and collective memory.
This catalogue outlines the material, technical, and conceptual decisions behind the body of work developed for tuck, twist, twink (2024-2025). It provides a practical overview of print format, substrates, installation, approaches, and pricing while also highlighting these choices, supporting the projects, exploration of identity, visibility, and the politics of body by bringing together the process and outcome, this catalogue offers insight into how each work was constructed and how form, material, and meaning shape the final visual narrative.
Dismount, 2025
This artwork consists of a series of screengrabs printed on linen, measuring 85 x 100 cm. Each image originates from a performance in which the artist balances and moves on a gymnastics beam, a piece of apparatus traditionally associated with precision, discipline, and controlled movement. Uniquely, this beam is situated not in a gymnasium but in the expansive landscape of the Namib Desert, where wind, sand, and open space become part of the performance itself.
Typology series sold as individual prints: a collection of 30 (each print is sold individually)
The screengrabs capture fleeting gestures and moments of the body negotiating balance in an environment that is both vast and unpredictable. Printed on linen paper, the images hold a soft, textured quality that echoes the desert’s terrain. Mounted on wooden blocks, the work gains a quiet sculptural presence; the slight depth of the blocks allows the images to occupy space more actively, bridging the gap between photographic documentation and physical installation. By presenting these stills as a typology, the piece invites viewers to notice subtle variations, shifts in posture, light, shadow, and landscape, and to consider how performance translates into fragmented visual records. The work foregrounds the contrast between human control and natural openness, between the structured discipline of gymnastics and the unbounded expanse of the desert.
Ultimately, the installation becomes a dialogue between body, landscape, and documentation, offering a layered reflection on movement, environment, and the ways performance can be transformed when lifted out of its expected context.
2nd Place, 2025
This artwork features a 21 x 21 cm mirror transformed into a unique visual experience through a delicate image-transfer process. At its centre is a composition made from two different images that are digitally manipulated and overlaid onto one another, creating a merged visual field where textures, shapes, and tones blend into a single layered artwork. Carefully applied transfer materials allow this combined image to settle softly onto the mirror’s surface, producing a translucent effect that lets light and reflections interact with it, giving the piece a subtle, shifting quality depending on the viewer’s angle.
Mirror transfer series: limited edition of 5 per framed work (each work is sold individually)
The mirror is set within a hand-crafted wooden frame, whose natural texture adds warmth and contrast to the cool reflective plane. The craftsmanship involved, from preparing the mirror, digitally composing the dual images, transferring them, and sealing the surface, to constructing and finishing the frame, highlights the value of the skilled labour behind the work.
Overall, the piece becomes both an artwork and an object of reflection, inviting viewers to see themselves woven into the dual imagery and materials that shape it.
Miss-gender, 2024
This artwork presents a self-portrait reimagined through sculptural form and surface. At its core is a 30.5 x 30.5 x 120 cm plinth, which serves not only as a structural element but as an active part of the visual composition. Wrapped around the plinth is an ink print, whose imagery has been designed to morph and shift as it follows the contours of the structure. As the print bends around edges and planes, the self-portrait subtly distorts, creating moments where the image stretches, compresses, or realigns depending on the viewer’s position.
Plinth installation work
The ink print itself, produced through a precise printing process, embodies both clarity and transformation, highlighting how identity can feel stable yet constantly reshaped by its surroundings. The labour involved in composing, printing, trimming, and applying the image to the plinth is evident in the seamless way the artwork wraps the form, turning a traditionally neutral display object into an expressive part of the piece.
Together, the plinth and the morphing ink print create a multidimensional self-portrait: one that occupies space, shifts with perspective, and invites viewers to move around it, discovering how the image changes as it interacts with the structure it envelops.
Outopie en Zali, 2025
This artwork features a series of framed self-portraits brought to life through vibrant, high-colour ink prints. Measuring 38.5 x 103.1 cm, the piece uses bold hues and striking tonal contrasts to highlight the emotional and visual presence of the portrait. The intensity of the colours creates an immediate sense of energy, drawing the viewer into the imagery and emphasising the expressive qualities of the self-portraits.
A series of two limited-edition framed works
Each print is carefully produced through a detailed ink-printing process, ensuring clarity, saturation, and richness across the surface. The artwork is encased in a hand-crafted wooden frame, whose natural structure provides a warm balance to the vivid colours within. The frame not only protects the work but also enhances its visual impact, grounding the boldness of the print in a tactile, material form. The labour behind the piece, from composing the self-portrait, generating the vibrant ink print, and preparing the frame, reflects the care and precision required to transform personal imagery into a polished artwork.
Overall, the piece stands as a striking, colour-rich self-portrait that merges craftsmanship with expressive visual storytelling.
No spam, just art
This form is for purchasing works from my 2024–2025 catalogue, including pieces from tuck, twist, twink. Once you submit, I’ll get back to you with availability, pricing details, and next steps.
Once you submit an order request, I will contact you within 3–5 working days to confirm availability. An artwork is not considered reserved until you receive written confirmation from me.
After I send your confirmation message and invoice, the artwork will be held for 72 hours. Payment must be made within this time to secure your purchase. If payment is not received, the artwork may be released to the next interested buyer.
All artworks are part of limited editions.
Edition numbers are assigned in the order payments are received.