EULOGY
Inspired by the unmaking of one’s curated identity. With a flash of visceral and unrestrained emotion, fletting encouters with blinding intensity, it all comes undone. It is in these moments, we reacquiant ourselves with beautifully human imperfection. ‘im so well’ embraces the voyeurism in public displays of emotion. A salute to the meltdowns, a nod to the uncharacteristic. 
              Hushed conversation between sips of black coffee and trailing wisps of cigarette smoke. There is uncouth grace in a fall, and comfort in the embrace of concrete. Reincarnation and previous lives, of other worlds. The elegance of male hands, and the ethics of the observation, of the voyeuristic lens. On being seen, being watched, and of hiding.

'im so well'
A capsule of reimagined uniform.

(2024) Location: Christchurch, New Zealand. Model: Elijah Broughton @elijah_broughton Photography: Owen Spargo @sampledlight
Notes of citrus atop a broody blend of moss, resins, and amber.  Worrywart exudes emotion-angst, anxiety, and energy. The olfactory delight of old books and paper positioned alongside an alluring abstraction of pheromones, inks and vivid whispers of niche knowledge, and forgotten craftsmanship.

‘There are [those] who are paralyzed by the combination of two emotions. One an inferiority complex that convinces them something is beyond their ability and the other a sense of pride that tells them there is no need for them to even attempt it in the first place.’
Yohji Yamamoto, My Dear Bomb.

An homage to the broody artist. A memorialisation of the first step, in all its anguish and glory. Empty bottles of cheap merlot. Papers and materials scattered across every working surface. Will it all be worth it? Immortalising the various chapters and emotions of the lived experience. Worrywart, the first Eulogy Parfum, is an ode to the inner turmoil of chasing purpose.

(2024) Location: Studio, Christchurch, New Zealand. Model: Michelle @miscmish Photography: Bri Lauwrence Clothing and Styling: Matthew Bartram
Gaistaz. serves as a visual exploration into the predicament of today’s youth; despite quality of life being the best it has been in modern history, the prevalence and severity of mental illness raises some difficult questions.  Why is it that mental health is a war we seem to be losing? Are we a lost generation?
Note: Born from a place of empathy, Gaistaz explores heavy topics and grapples with the aestheticisation of pain. While I do not often feel the need to explain myself or my work, often shrouding my intentions in esotericism, my older work is not as well documented nor are my thoughts on them.
            Having a coloured history with mental health and the sensation of being lost, Gaistaz was conceived from the feelings and experiences of traversing some of the darkest chasms of depression. Video-games and the fantasy genre offer a wealth of visual references for depicting the otherworldly. This served as the basis for considering the aesthetics of a lost generation through a series of implicit visual cues.

(2020) Location: Mt Kaukau Summit. Wellington, New Zealand. Model: Trantham Gordon. Photography: Simon L Wong Clothing and Styling: Matthew Bartram Assistance: Yumoi, and Maddy Smith