Eve captures a modern reimagining of the biblical tale of Adam and Eve. Set against a lush backdrop, the subject represents a contemporary embodiment of Eve.

The image's focal point is the vivid red apple, symbolising temptation, anticipation and the desire for fulfilment through the unknown. This is reflected in Eve's expression of curiosity and defiance, set against the intricate tattoos snaking down her arm which add the suggestion of personal narrative and a layer of modernity to this revered but often questioned story. The warm, ethereal lighting casts a surreal glow, creating the dreamlike Eden that gives life to Eve.

In essence, this piece explores the complex relationship between nature and humanity while epitomising the challenging chemistry between innocence and temptation.

Is self-assuredness seen as pride? Is pride truly a sin?

This image portrays the concept of self-worth and confidence. Questioning the societal norms of pride and vanity.Challenging you to consider whether it is wrong to know your worth and be confident.

Vanity is subjective; sculptures of the human form are celebrated as art, yet when a real person embraces their own beauty, it is often labeled as vain.

The Greeks celebrated natural acts and deities like Aphrodite, who embodied beauty and love. Over time, cultural shifts have taught us that embracing one's sexuality and confidence is wrong. Why did these once-celebrated attributes become viewed as sinful?

This image invites viewers to reflect on these questions, encouraging a reevaluation of the values and judgement attached to self-belief and pride.

Who actually sins more - the one who tempts or the one who succumbs to temptation?

This image explores the complexities of temptation and sin. Drawing on the biblical reference to the temptation of Eve, the image prompts viewers to consider which party, if any, deserves judgment.

It challenges the notion that all temptation is inherently bad, inviting reflection on the nature of sin and morality. Are the tempter and the tempted equally culpable, or is one more deserving of blame? This image encourages a deeper contemplation of human behaviour, questioning whether the act of tempting or giving in to temptation truly warrants condemnation.

Why were we taught to be afraid of witches and not the people who burned them alive?"

This image explores the historical oppression of women throu witchcraft accusations. Women were often targeted by religious zealots due to their supposed weakness and susceptibility to the Devil - resulting in witchcraft accusations becoming a tool for female oppression. During the Salem Witch Trials, many women were falsely accused and executed.

In medieval Europe, the Malleus Maleficarum further branded women as likely witches - many female healers, teachers and midwives were vilified as such. This image challenges the observer to question historical judgements and societal beliefs about sin and rebellion.

There are 159 counties in the world. In 49 countries, there is no specific law against domestic violence towards women; in 45, there is no legislation to address sexual harassment towards women, and 112 countries do not criminalise marital rape, with 1 in 5 women being married before the age of 18.

This image represents the violence and suffering endured by women and girls around the world. The hand print symbolises the silencing of their voices, the unreported crimes, and the escalating loss of rights and freedoms.

It serves as a reminder of the urgent need for awareness and change as violence continues to grow.

Does the act of repentance truly remove your sins or does it simply offer comfort?

This image depicts an ancient English, Welsh, Scottish and Irish tradition of Sin-eating, later seen all over the world. Sin-eaters would perform a ritual where they consumed a meal that would absorb deceased sins, absolving them and allowing them to pass on peacefully and without judgment.

This image uses the dripping substance as a metaphor for sin, reflecting on the complexities of guilt, redemption, and the human desire to have our cake and eat it without consequences.

Where does the phrase "living in sin" come from?

It's not found in the Bible. Was it developed to encourage guilt and compliance?

Is "living in sin" a true state, or a societal construct? Should others be judged if they are living with someone they love and who makes them happy?

This image represents the concept of living together and engaging in acts deemed 'sinful', whilst also addressing the judgement faced by those in the LGBTQIA+ community. The dark substance symbolises the transference of 'sin' either truly or through societal decree.

This image challenges bias and judgement, posing a consideration of the implications of cultural judgements on personal happiness, love and old ways.

Is it better to live fully, embracing all experiences, or to live cautiously, avoiding potential pitfalls? Should we judge others for their life path, their choices or their mistakes - especially when they are sometimes forced into these situations? Can we really choose?

This image challenges us to consider the fairness of our judgments and the empathy we extend to others. It encourages reflection on the nature of sin, the burdens we carry, and how we navigate life amidst societal expectations and personal dilemmas.

The dark, dripping substance symbolises the weight of being burdened by the judgement of our own and others' percieved sins.