The paintings of David Hancock depict an uncanny space, a world poised between the real and the surreal, both tangible and illusory. Positioned centrally in the work, dolls are a recurring motif. They function as both a portrait of the chosen artist and as a means for Hancock to navigate the still life. It is not necessary that they resemble the chosen artist. They are explorations of self, a non-binary avatar aligned to Hancock’s own personality, tastes, and memories. The dolls are a form of drag. Purchased as blanks, their persona is determined over the course of their transformation. In this process, the doll becomes as ‘real’ as any human sitter and blurring gender, they offer a way for Hancock to inhabit the painting both as the artist and subject.

The still life is constructed from items that resemble forms in the original painting, but transformed via Hancock’s interpretation, one that is influenced through popular culture, personal possessions, and items sourced online or from charity shops. Their placement has an internal logic. Their appropriateness mostly intuitive.

The myriad references coalesce within the studio to create a dual space, one that is both physical and psychological. Hancock merges still life and the imagination, creating a self-contained subconscious world within a single painted plane, where there is room for exploration of an un-gendered liminal space.