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
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 Tima Miroshnichenko from Pexels

Photo by Artem Podrez from Pexels
