My Luxuria takes its title from the Latin for lust and excess — desire named historically as transgression, appetite framed as moral failure. The series examines how desire and the definitions of the sexualised body are shaped by visual traditions and cultural narratives rather than residing purely in the personal.

The works are digitally constructed composites. Sex-associated organs — genitalia and nipples — have been removed from the human source images. Doll joints have been added at the points of articulation. The resulting figures work deliberately within the visual grammar of solo pornographic and glamour photography — the studio backdrop, the saturated colour, the poses arranged for consumption. The construction is visible, if looked for. The grammar absorbs it regardless.

That absorption is the series' central discovery — and it was made in the process of making the work, not before it. During the construction of the composite figures, the organs were removed first to create a neutral body onto which the doll joints could be grafted. What became apparent before the doll parts were even added was unexpected: even with the sex-associated anatomy absent, the images retained their pornographic character entirely. The visual grammar of objectification did not reside primarily in the display of sex organs. It resided in the poses — submissive, open, arranged for a viewer whose existence the image assumes. In the expressions — coquettish, compliant, performing availability. In everything else. This discovery prompted the four additional images in the series — figures without doll joints, organs absent, the pornographic grammar intact and unambiguous — as explicit documentation of the finding.

The series spans fourteen works across multiple subsets, each examining the same question from a different angle. The images oscillate between the seductive and the estranged, producing moments of cognitive dissonance that ask the viewer to consider not only what they are looking at, but why they are looking — and what that looking is made of.

Our visions are not naïve.