During a residency at the privately run Da Luz Camacho Residency, freedom from outcome-driven expectations enabled a series of experimental directions. Each tested the limits of figuration, symbolism, and cultural reference, without the pressure of resolution or display.

The Multitudes extended an ongoing investigation into the figure, pushing toward an interwoven all-overism. Silver-leafed forms jostle, overlap, and compress, producing a crowded field of sexualised bodies. Desire, anonymity, and collective movement collide, dissolving individuality into a restless, homogenised mass.

Birdland, though never fully realised, functioned as a generative blueprint rather than a failed work. Its unresolved motifs later informed collaborations with The Blake Society. The project remains shelved, but structurally intact and open to reactivation.

The Ascent, a silver-ink lithograph commissioned by the residency host, drew on medieval histories of the Algarve while tracing parallels with subterranean and underground cultures. Local architectural memory merged with countercultural sensibilities, aligning historical structures of secrecy with contemporary modes of resistance.