Sally Matthews

I grew up with Sally, she was the first artist I ever knew. Her life was art, a chaotic masterpiece of a life in motion. Other adults seemed to follow scripts, but she didn’t and that made sense to me.

We reconnected a few years ago, now both as adults, I got to see more of her. Still cheeky as all hell. Her wit, somehow sharper. Strong. Kind without compromise and still the life of any room. A real people’s person.
Brilliantly mad.  But now there was more stillness. Like she’d taken time to know herself. 

Her house is a living cabinet of curiosity. Every object’s got a story, whether gifted, found or made, things are never just things in Sal’s world. On one shelf, there’s a white-label record. Scrawled in sharpie, it reads: ‘The Lady of Balfour’, A gift from a reggae band she performed with. Sharing a spliff with them backstage and ending up spinning fire poi with them mid-gig. She showed me that record as if it were an Olympic medal. That sort of thing happens to her a lot. People meet Sal, and they remember.

She told me she’d been dressing up, creating characters. One of them: the Lady of Balfour. A title she wore proudly, and one she’s well known by. We staged her as this to set up the painting, but I knew I was going to cut beneath it.

The painting resists interpretation on purpose. Not to frustrate, but to ask for slower, more deliberate attention. Sally isn’t a subject, she’s a presence. Everything in the frame carries meaning, stories of her life. Her world is assembled around her, every object is deliberate, but none are offered up for translation. These are not clues to decipher, but symbols that belong to her alone. This is not allegory. It is autonomy. By preserving privacy, it becomes an act of defiance.
It is existence without permission.


Painting and writing by Siris Hill. - Sally Matthews 80x60cm, 2025

Photo by Oliver Kumar

Photo by Oliver Kumar

Victoria Plum

Plum has as many titles as she does diagnoses. Collecting them seems to be her thing. A mother. A comedian. A forager. A choir singer. A writer. A campaigner. A PhD. An MA. Neurodivergent. Queer. Autistic. She wears them like mismatched socks.

When I asked to paint her, I knew I wouldn’t get “the real” in the usual sense. It started with a revelation. She told me she’d recently realised she was autistic and that she was the last to know. Everyone she told said the same thing:

“I thought you already knew.”

She described how she believed she came across to people, and it was so wildly off, I laughed. Not at her, but at the absurdity of it. So we leaned in. Plum plays a character in her comedy,  a straight-laced, posh British woman with bite.
Cold. Controlled. Unsmiling. We staged her as that. Full regalia.

The painting is a contradiction. This isn’t a portrait that reveals Plum. It’s one that celebrates her. It doesn’t explain her. It doesn’t need to. You’re either in on it, or you’re not.

David Shenton



David makes himself laugh at least two times a minute. Great wheezing chuckles as if he can’t quite contain the delight he finds in the world. Sit down with him for five minutes, and the idea of a linear conversation dissolves entirely. You find yourself trying to make sense of a boy dragging a dead pigeon on a string behind a chariot (more on this in a moment).

He’s like an excited child with the wisdom of an elder and a rebellious nature. I wanted to capture David doing something he loved, and it started with the idea of him illustrating one of his comics. 

He invited me into his home, it was like walking into a very clever dream. It was maximalism turned..  I asked for a tour, and we wandered from room to room like it was an exhibition. There were plates he’d rescued from a skip, leftovers from an artist’s heartbreak, now arranged as if they were prized relics. In the bathroom, the walls were papered in torn-out pages of his own published book. Dozens of copies, still in his possession, now serving another use.

We stop in front of a painting, his interpretation of a piece he saw in a museum. He told me the story of how he’d visited Guildhall Art Gallery and stumbled on a painting called A Pythagorean School Invaded by the Sybarites. “Giant museum-sized, serious thing,” he said. He went on to tell me how he looked up the story and realised how silly it was. It depicts a Pythagorean school, invaded by Sybarites who taunt and mock them whilst riding carriages through their vegetable patch, dragging a dead pigeon. He came home and made a comic of it, he exclaims, wheezing to himself.

The more time I spent with David, the more I found myself wanting to be like him. He reminded me what it feels like to be led by curiosity, that life is art. The joy in simply making. By being so entirely himself, he gave me permission to do the same.

Photo by Ivan Samkov from Pexels

Photo by Artem Podrez from Pexels

Sally Matthews

Victoria Plum

David Shenton

TAryn Everdeen

Taryn's got a gift, this way of pulling people in and making them feel seen, like they can just breathe and be themselves around her. I’ve painted her through those connections, capturing her brilliance in how she gives people the space to just be. She’s a beacon, a presence that elevates everyone around her. It's a beautiful thing.

She’s got this infectious offbeat energy that cracks people wide open. She’s awkward in the way that makes others comfortable, like it’s okay to drop the act. You watch her approach someone, and it’s like the tension evaporates. People want to be their best selves around her.

Pete turrell

Norwich’s open mic community:

I stumbled into it like you stumble into all the best things, half-lost. I was more than half-lost, living on hope and not much else. Part of my recovery was to find something regular to be involved in. Step out the house and be somewhere — doctor's orders.

I wasn’t playing. I just needed somewhere to sit and listen. Something regular that didn’t ask much of me. So I started showing up. I watched, and over the months I saw a little world already knit together. A tight circle of outsiders and weirdos. Wholesome, loving and genuine. Norwich at its finest.

Pete was always there, in his worn leather jacket, moving through the room. You could tell he belonged to this place in a way no one else did. Moving. Always moving. Drifting between tables, adjusting cables, bringing in the next act with some story or dry joke, holding the night together.

He paid attention. That’s the thing I noticed first. Between the buzzing around, he never lost focus on the act. He found words and compliments that pierced through the armour of self-deprecation, pinpointing exactly what you needed to hear and made it undeniable.

My second introduction to Pete came sideways, through the stories others told. That’s when I began to understand how deeply he’s woven into the heart of Norwich’s musicians. I heard more about Pete from others than I ever did from him.

Then came the third introduction: watching him play.

He was finally still. A guitar resting across his lap, head bowed. The first few notes landed heavily.

“Fuck!” He cursed. And then he tried again, and he found it... as if it had lived in the wood long before the guitar was ever strung. The kind of sound that makes the rest of the world fall away, makes you forget you’re sitting on a sticky pub stool, knee pressed against a table leg.

Then, from the back: “What’s the square root of 289?”

A heckle. The room laughed, but Pete didn’t flinch. Just kept playing, letting the music spill out like water from cupped hands.

When the last note faded, he paused. “Seventeen.”

And he stood, like he hadn’t just cracked open the world. Left the makeshift stage the way he holds it, gently, like it belongs to everyone else..

Sala El Nagar

Siris Hill

"We say, baynatna khubz wa milah," Salah told me. "Between us, there is bread and salt.""Bread is life. It is what we share when we welcome someone in. Salt, salt is hardship. It is the bitterness we endure, the struggles we face. To share bread and salt with someone is to become brothers, to accept them fully. To say: I will not betray you. I see you, and you see me."

I've carried this phrase with me ever since that first chance encounter. We'd met in a café on a grey afternoon, the kind where the rain doesn’t fall but lingers in the air, soaking into your skin. He was already seated when I arrived, a mug of coffee steaming between his hands.

We spoke of humanity, the ghost-thin lines that connect us across borders. Of hunger, not just for food but for meaning, and of faith and where it liberates and how it cages. I learned that Salah was a refugee, having left Egypt eight years ago. He told me about crossing the Mediterranean, five days at sea, swallowed by darkness, the cries of women and children lost in the hammering waves.

Salah didn’t just flee, he was expelled by a regime that feared a man who thought too loudly.

“I came here to the UK as a refugee because I suffered persecution in my home country. I am a writer who has published articles on human rights and freedom. I was also involved in political demonstrations against the Egyptian government and in addition, I am related to Dr. Ahmed Subhy Mansour, an Egyptian-American activist and Islamic scholar.”

He talks about his homeland like a lover lost in war. Between them stands a battlefield, not of blood, but of silence and submission. Home is a place that called him a traitor for demanding..  Human rights? His words stayed with me long after that afternoon, but their full weight didn’t settle until I saw him again, not across a café table, but behind a food stall at a festival. He had invited me there to share his food with me. The air thick with spice, steam curling into the cold afternoon. If khubz wa milah was his philosophy, then his food was its proof.

The act of giving was no longer just spoken; it was tangible. The values he spoke of were no longer just words, but something alive, served in bowls and passed from hand to hand. He was only sharing food, but within it I saw an act of defiance. They cast him out, but they did not break him. They tried to silence him, but here he stood, feeding others, giving without question, turning exile into something they could never take from him. He had not been erased. He had only grown stronger.

This is why I painted him, not as a man displaced, but as a man who reclaims space. Who, in the act of nourishing others, asserts his own existence. But more than that, he is a man must stand stand for truth, for dignity, for the radical idea that every person deserves to be seen, to be heard, to belong. 

Taryn Everdeen

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