My practice reflects on issues pertaining to fluid and non-binary gender-identities. Recent works include large-scale paintings depicting bodies in performative stances, often my own, intertwined (and responding to) inanimate structures. Objects and bodies are depicted as a believable extension of our world, purposefully unabsorbed in themselves and placed with the aim to gaze back at the viewer while being beheld. The absence of sexual imagery is an attempt at redressing the scarce representation of queer bodies in art historical canons whilst destabilising the hyper-sexualisation of queer identities and histories in contemporary art practices. The construction of compositions incorporates two basic elements that form the core of human perceptive response, flesh and chiasm, as described by the phenomenologist Merleau-Ponty. Bodies and objects (flesh) intersect (chiasm) and trigger an emotional response that triggers the beholder’s pre-conceived notions of queer imagery. In this way, the paintings reference principles devised in Diderot’s Salons, which state that the painter’s task is to arrest, attract and enthral the beholder. I question that if perception is an acquired construct, moulded by experience and learning, it can also be subjected to self-reflection and potentially to change.