MIXED MEDIA
MIXED MEDIA · 2024

Faces of Power

What does power look like up close?

Faces of Power
PROBLEM_

What does power look like up close?

A mixed media art project exploring how leaders make decisions that impact millions. Using close-up portraiture, interviews, and layered physical materials, the work interrogates themes of privacy, intimacy, and authority.

MY ROLE_

Sole artist — concept, photography, material fabrication, and installation.

Sole artist — concept, photography, material fabrication, and installation.

Mixed MediaPhotographyConceptual ArtInstallation
RESEARCH_

Shifting focus from geopolitics to the human actors behind it.

This work extended the South China Sea piece, shifting focus from geopolitics to the human actors behind it. I was interested in what it means to hold power — and what gets hidden behind a public face.

Removing colour and context made the images feel universal — anyone could be in power.

KEY INSIGHT_

CHALLENGE_

Close-up portraits and discomforting questions — the kind powerful people are rarely asked.

Took close-up portraits and conducted interviews asking discomforting personal questions — the kind powerful people are rarely asked publicly. Explored masks (literal and metaphorical) as a recurring motif, inspired by Brian Cattle.

PROCESS_

Layering identities through acetate and light — together we are one.

Layered multiple identities into single images using acetate and a custom-built A4 lightbox. Gelli printing added a propaganda aesthetic through paint transfer. Photograms stripped context entirely, leaving figures open to interpretation.

SOLUTION_

A multi-part installation where power is constructed, projected, and concealed.

A multi-part installation combining Mod Roc masks, acetate lightbox prints, gelli prints, and photograms — each exploring a different facet of how power is constructed, projected, and concealed.

OUTCOMES_

Removing colour and context made the images feel universal — anyone could be in power.

The most powerful moment was realising that removing colour and context — the photograms — made the images feel universal: anyone could be in power. I'd push the interview component further, potentially making it part of the installation itself.