Stolen Fruit Knife through Iridium Silver Paint on 1 of 370 Extant RHD Mercedes AMG CLS55, 2017,

photographic print.

The medium’s influence upon a work is often misunderstood; here, the complicity of the medium is fundamental to the piece. Although Dom does not consider himself as a photographer, the camera remains an intrinsic part of his practice.

FOUR LARGE GLASSES (Vitrine Sketch after Duchamp)

Four Large Glasses (Vitrine Sketch after Duchamp), 2017 – currently in production.

A current work exploring the use of museum style vitrines and how they influence the meaning of whatever resides within.

The work will comprise four museum style vitrines, each holding an assemblage of artefacts or devices, every one a museum or gallery in itself.

4 Minutes (detail), assemblage, 2016-2017 – currently in production.

Assemblage/installation reflecting on the memories and worldwide trauma of the nuclear age and its costs, both visible and hidden. This work extends previous studies on systemic, structural and symbolic violence and seeks to expose the truth behind the rhetoric of  governments and scientists who habitually obfuscate the dangers and actual purpose of technological advancement.

4 Minutes (detail), assemblage, 2016-2017 – currently in production.

Self-Portrait (60 elements)

Self-Portrait (60 Elements), assemblage of 60 elements, 2015.

Self-Portrait is an assemblage of the constituent elements, in their correct quantities, that comprise the artist. The artist – and EVERYONE else – whatever their gender*, colour, religion and sexuality, are merely variants of these elements, only differing in their quantities depending on their body mass. We are made of nothing more and nothing less. Whether we comprise more than the sum of these elements is, perhaps, more the sphere of the philosopher than the scientist.

*Gender has an effect on the quantity of iron found in the human body.

The exploration of this work led, in part, to 4 Minutes – Those people who died before the detonation of the first nuclear weapon comprise less elements than those who lived into the atomic age: we are all contaminated by this development.

Self-Portrait (60 Elements) was part-funded by Plymouth University.

Self-Portrait (60 Elements), 2015.

Self-Portrait (60 Elements), (detail), assemblage of 60 elements, 2015.

A View of Delft (after Vermeer), 2015


A View of Delft (after Vermeer), (detail), assemblage comprising: pigments, tools, canvas etc. With HD digital film overlay, 2015 – displayed here in Robert Lenkiewicz’s former studio.

A critique and investigation into the politics and philosophy of deskilling within art.

The piece comprises an historically accurate assemblage of the components required to paint the View of Delft, Johannes Vermeer,  c. 1660 – 1661 on display at the Mauritshuis, The Hague, Netherlands.


A View of Delft (after Vermeer), (detail), assemblage comprising: pigments, tools, canvas etc. With HD digital film overlay,  2015 – displayed here in the Plymouth Council gallery.

Nosocomephobia, (detail), installation with film, 2014.

Described as an “irrational fear of hospitals”, nosocomephobia is anything but irrational for the artist – making a foray into semi-autobiographical work he descends into the depths of his psyche with disturbing results.