Wineworld

WineWorld began with something very ordinary - a simple wine display in the local shop. I found myself drawn to its structure and shapes, and as I worked, the scene gradually shifted into something more abstract and reflective. At first glance, the print shows a neat stack of bottles, drawn with smooth, flowing lines that suggest order. But as I spent more time with the image, I realised there were tensions and contradictions within it that I wanted to explore.

The deep black of the wine bin beneath the bottles felt important. It created a kind of void - literal, of course, but also symbolic. It made me think about what sits beneath the polished surface of things we often treat as refined or sophisticated. By stripping the bottles of their labels and reducing them to simple forms, I was trying to hint at anonymity and sameness, even though their soft curves and air pockets still suggest fragility and potential energy. The pyramid arrangement aims for balance, but the small imperfections - the slightly skewed lids, the missing detail at the centre - gently disrupt that sense of harmony.

As I worked, I found myself thinking about wine not just as a cultural symbol but also as part of a wider conversation about alcohol and its place in society. Its ubiquity, its marketing, and the way it’s woven into everyday life all carry more complicated implications. The dark void beneath the bottles can be read as a descent into excess or dependency - a quiet reminder of the waste and harm that can sit behind something we often treat casually.

When the bottles drop into the bin, they start to resemble something more human. Their rounded, off‑centre lids become heads, and the bottles lie side by side like figures. It’s a stark image, and for me it hints at the real human cost behind what can seem like harmless indulgence.

In the end, WineWorld became a way for me to reflect on the systems and habits that surround alcohol - how it’s sold, how it’s normalised, and how easily it becomes part of daily life. By simplifying and abstracting the forms, I hoped to encourage viewers to look a little deeper and sit with some of the discomfort the piece suggests. It’s a more introspective contribution to the Hidden High Street series, and my way of engaging with a familiar part of British high street culture from a slightly different angle.