Drawing on Douglas Hofstadter’s concept of the strange loop, Davidson uses the self-portrait as a point of departure to examine the unstable and continually shifting nature of identity. Hofstadter proposes that the self is not a fixed or singular entity, but an ongoing recursive process, continuously shaped through memory, perception and our relationships with others.

Developed through Davidson’s photographic emulsion process, the works deliberately challenge photography’s conventional role as a medium of representation and self-description. Beginning as figurative self-portraits, the images are physically lifted, stretched, torn and reconfigured, gradually shifting from recognisable likenesses into ambiguous and abstract forms.