Rapture was conceived as a visual poem. A few months before the pandemic, I presented my first gallery exhibition, which resulted in two consecutive sold-out evenings, an experience that affirmed both the work and its resonance with viewers. At its core, the series is an invocation: a reminder of the viewer’s place within the heavens and of their own inherent divinity.

The intent of the work is to momentarily dissolve the low-frequency noise of race, gender, and social identity, and to reframe the human being as a sacred vessel, a living temple of God. Each composition references divine principles of creation, drawing from sacred geometry and cosmological order to suggest a universe that is both intentional and intimate.

When engaging the human form, I have never shied away from nudity. Stripped of adornment, the body becomes both humble and eternal, a practical and poetic reminder that we carry nothing material with us when we cross into the most holy of realms. In this bareness, the work asks not for consumption, but for reverence.

Shot in studio and meticulously composited over a period of months in 2019. This lengthy labour of love has marked a key turning point in my artistic career.