With R.A.W. I wanted to honour the messy, tactile act of painting while probing what it means to exist in a machine age. The show is structured around two strands: a section of “hand‑rendered artworks” that embraces painting and draws directly on my own experiences and emotions, and a section of AI‑generated portraits and video. In the painted works, I sculpted fluid silhouettes and figures with thick acrylic, building textures that evoke bodies, relationships and queer/trans feelings; some pieces include diaristic text (“dear diary … a day without transphobia I hope I have”) or graffiti‑like spray‑painted marks. I contrasted these tactile canvases with AI‑assisted pieces, where generative algorithms produced ghostly profiles and marbled colour fields that I then layered with drawn lines and paint to reclaim the machine’s output. AI-generated images printed on perspex materialise the digital in physical space. By weaving together hand‑made and algorithmic processes, R.A.W. invites viewers to reflect on how personal narratives and queer identities are shaped by both human touch and machine intelligence, continuing my broader practice of pushing boundaries and inviting intimate connection.