The Magazine is a photo-painting series derived from Borderless.

Participants are recruited through social media and selected on whether what they actually wear aligns with the direction of the work. Clothing, hair and make-up are decided entirely by the participant — moving the styling from photographer to subject is what separates this from a commercial shoot. Each is recorded full-length in a chosen location; the shapes and colours produced by the clothing and the body are then extracted and rebuilt as painting.

The final form is sequence. Photograph and derived painting are paired and placed side by side, and images sharing formal resemblance accumulate into a typological record. The figure is not the subject of representation but a carrier for the colour of a place and a moment; the painting does not describe the person, it absorbs the state around them; Holding to continuity, frontality and objectivity, the structure can extend indefinitely as long as there is something to compare. 

A method that began in painting is tested by passing through photography and publishing. That is why The Magazine is an extension of Borderless rather than a departure from it.

Borderless is an ongoing series of paintings on architectural apertures — windows, corridors, stairs.

An aperture is the part of a building opened on purpose: for the exchange of light, air and sound, or for movement into another space. It is the only place where inside and outside genuinely meet, and pictorially it is where plane meets plane and tension appears. The series keeps that place and discards the rest — no wall, no furniture, no landscape beyond the frame. Stripped of context, the structure becomes an object in its own right and is absorbed back into the space the viewer occupies.

Composition begins in symmetry. The symmetrical division is taken from architectural elevation and it produces balance, but balance is not the point. Set a carefully weighted void inside an ordered structure and the tension collects in the empty part. Symmetry is the frame that lets the void work.

The series does not converge on a destination. The same motifs recur with small shifts in form, proportion and colour, and each work carries a code recording its year and dimensions. Because the format is written into the code, canvases of the same size can be set adjacent and joined into a single plane.