For Kenrick McFarlane (b. 1990, U.S.A.) the versatility of oil paint serves as a vehicle to reflect on the complex networks of domination foundational to art history. McFarlane layers visual techniques of Renaissance Painting with synthetic, and often off-kilter, coloured cartooning. His work presents a keen awareness of the historical paucity that surrounds the representation of the black body within the practice of painting. Presenting us with paintings dominated by landscapes neither here nor there, dislocated stages for histories desires, violence and pleasures, McFarlane's work re-appropriates and re-energises techniques of Western art to his own ends.