What is a city? In our globalised, multicultural epoch, it is a question with a thousand different answers which are all equally valid. The intention of my body of work is to represent the many faces of the beauty of these metropolitan spaces and the diversity of the people who inhabit them.

My concept for Eternal Apotheosis was that certain human ideas and values are so abundant throughout history that they become almost divine. My body of work represents the profound and continuing conversation between the past and future, between Greek deities who symbolise ancient civilisations' values and beliefs and powerful women in modern culture. My work pairs paragons of celestial wonder (Urania, Jill Tarter), aesthetic beauty (Aphrodite, Alek Wek), musical creation (Apollo, Nina Simone), elemental value (Poseidon, Yusra Mardini) and moral justice (Themis, Ruth Bader Ginsburg). I encourage audiences to consider humanity's heritage and the present, side by side.

Dissociation offers a fragile escape from the inevitability of life, a retreat from regrets and undesirable circumstances. It destabilises the foundations of identity, collapsing the coherence of thought, memory and presence into something unfamiliar. My intention in my body of work was to convey the sense of slipping between recognition and self-estrangement, inhabiting one's body while simultaneously becoming a witness to it. Charcoal - easily smudged and erased - is the best medium to represent this precarious experience. I invite the audience to reflect on what it means to lose oneself, and the struggle to regain coherence in a disorienting world.

My body of work is a critique of Christianity's justification, exacerbation and deification of female suffering. Women are sinful only in our likeness to God; the knowledge Eve's apple bestowed, our divine creative ability. Our immorality is understood in the femaleness of original sin; our inherent fallenness. My work represents the ethereal Madonna and Child as the Christian epitome of feminine morality - the paradoxically virgin mother. Portraits of Our Lady of Sorrows gazing towards the Madonna convey the desire to meet unattainable moral expectations and the subsequent guilt of perceived inadequacy. God appropriates femininity before damning us for it.

The concept of a 'surveillance state' may seem dystopian and irrelevant in the 21st century, yet it is a reality we inhabit due to late-stage capitalism. In my body of work I examine how covert surveillance is integrated into modern society through the internet and, increasingly, AI. My work references propaganda with the intention of highlighting the oppressive nature of surveillance capitalism and confronting audiences with historical parallels of authoritarian monitoring, now repackaged through digital platforms. I encourage audiences to reflect on the systems we participate in, often unknowingly, and the exploitation embedded in our digital interactions.

My body of work investigates the concept of artistic representation and how the roles of the artist, artwork and audience are shaped by sociocultural change and our desire to communicate our ever- changing world. I reference the self-reflexive, meta-artwork Las meninas by Velázquez, which places the artist in the work, to represent a contemporary audience, positioning the audience as participants in the artwork itself. My intention is to create a dynamic conversation about the role of the observer, challenging traditional notions of artistic authority and interpretation that arise when a work is left solely to audience speculation.

My body of work is a series of paintings inspired by 17th century Dutch still-life paintings and Sam Leach's practice of using AI to generate compositions that are then painted in a traditional manner. In the period known as the Dutch Golden Age, paintings featuring the material richness of everyday life were popular. They illustrated the society of the time as being filled with lavish flowers and luxury goods, but the compositions carried deeper symbolic meanings. Life's Impermanence represents items traditionally seen in those works then progresses slowly to items that are more contemporary and familiar to modern day society.

My body of work investigates the paradox of internal tension: forces that seem to pull us down can also be what hold us together. The smaller figures in my work are represented as if dragging the central body off balance, yet their ropes and positions are structurally responsible for supporting it. Carving foam over a steel-rod armature, my intention was to demonstrate weight, strain and suspension without solidity, and the pose's precariousness. I invite audiences to consider how our most disruptive thoughts often underpin our stability, and the constant negotiation required to stay upright amid competing pressures within the self.

My body of work represents a small being with a glowing stone heart. As it ventures from the safety of its underground home to the unknown surface above, it wrestles with rejection, betrayal and the urge to hide its true self. The character's heart glows uncontrollably with emotion, conveying the pressure many feel to suppress their individuality in order to 'fit in'. My intention was for my work to examine how important connection and emotional expression are to us as human beings. I invite audiences to think about what we hide, what we share, and what it means to feel.