In SHADES, morning seems to originate in the stillness of a parked car. A leaning smoking woman in a striped shirt has less a shadow more a shadow self – it’s all in the texture of shades. Models clamber on a sand dune (or do they channel it?). A suited-up cowboy-man alights a shopping centre escalator while inky-dark ferns track him.
Beesley’s range is on show in SHADES, and a David Lynchian eeriness pervades over the familiar.
220 x 300 mm