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The 'every kingdom was born to die' series began in 2020 as a deeply personal meditation on grief following the death of my gorgeous dad. His presence, embodying a softer, more nurturing masculinity, became the foundation for an exploration of loss, renewal, and transformation. A photo of the sky taken at a park he took me to as a kid, evolved into a broader reflection on the death and rebirth of personal and collective histories. The work speaks to the necessary relinquishing of past narratives to make way for growth, blending catharsis with critique. 

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​​​​In 2024, this interrogation extended beyond the personal into broader cultural landscapes. Pt. II reimagines religious iconography, deconstructing and repurposing Renaissance tropes into a fractured, very, very, very sad Jesus face. The work questions the persistence of institutional forms in the contemporary. Pt. III moves into colonial history, depicting a lone colonial figure atop a hill—detached, unaware, yet forever bound to the devastation he set in motion. Seemingly a bit happy though! These works form a trilogy of endings, exposing the slow deaths of the structures that shape us.

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​Balancing this with just a touch of lol, the tapestry piece 'ooopa! so sorry' (seen above) becomes the cheeky executioner, symbolising the necessary destruction of these parts of ourselves. Through finger guns (pew pew pew!!), it acknowledges both loss and agency in reshaping the narratives that define us.

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