In Nonetheless, images and motifs familiar from previous series evolve and shift, becoming bearers of new meanings and insinuations. Bodies are fragmented, distorted and foreshortened, female lingerie is submerged and sodden, flowers are erotic, reds and fleshy tones pulsate, feet are hyper-pointed and elongated, and shoes are fetishised. Digitally manipulated, evocatively juxtaposed, and placed within claustrophobic, eerily lit interiors, these innocent forms and bodily fragments are rendered abject and sublime, unsettling and seductive through their superbly loaded connotations. These works are provocatively ambiguous. Drawing influence from the Surrealists, notions of the uncanny, and Walter Benjamin’s ‘optical unconscious’, as well as literary references such as Alice in Wonderland, Brassington employs photomontage to reveal the incredible power of the mind to transform mundane objects and situations into sites/sights of horror, menace, sensuality, and desire.