Bex Massey’s work examines the role of painting and the language of display in the face of popular culture. She amalgamates simulacra and allegory to investigate notions of ‘worth’ via motifs extracted from her childhood.  She appropriates & refashions 90s/00s jpegs in an ‘awkward couple’ of garish nostalgia and traditional making techniques.  Canvas therefore straddle the hyper real and erroneous as she imagines pixels into existence from low res files.  Massey returns to the palette of her adolescence as it remains a slower era-pre internet. Her use of ‘naff’ portraiture condemns the fleeting and facile nature of social media as she dips her toe into the murky waters of ‘Fan Art’:  The nature of painting further epitomising this construct of time and its suggested ‘worth’-in the replication of the transitory image lest the click of a flash, mouse or ctrl alt delete. 

Massey borrows lengthy processes from the old Masters to replicate quick links from Adobe Suite in a bid to push away from the ever-expanding field of the digital.  Her layering process combines collage, optical illusion, and humour to discuss the farcical disparity between the genders.  Recently these intersectional feminist issues have focussed on ‘Section 28’ and its impact on a generation of Queer kids.  In trying to understand this origin story she has spent the past two years exploring Queer history and theory – the research that she compiled here will be on view at the end of the year in her largest and first autobiographical series to date (‘The truth is out there’ (solo) 2022, Roman Road Gallery).  She is now concentrating this investigation into lesbian invisibility and how -if at all- this erasure can be captured in paint?