Bransfield’s work draws on the logic of the concept album, treating the exhibition as a mutable format rather than a fixed presentation of objects. In Pearl Clutchers, an unreleased pop song operates as a conceptual anchor, generating a constellation of screenprints, collages, works on paper and steel. These are installed salon-style, collapsing distinctions between artwork, ephemera and residue.

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Materially and visually excessive, the exhibition employs baby pinks, pearlescent surfaces and synthetic textures that reference both luxury branding and care aesthetics. This visual language operates as a form of ideological camouflage, through which images of political unrest and media spectacle subtly infiltrate the work. Works are installed to create a visual mood board. Visually saturated with baby pinks, pearlescence and synthetic glamour, Pearl Clutchers borrows the language of pop, fashion and branding - pearl necklaces, judges’ wigs, luxury wallpaper, Google image search detritus - while quietly poisoning it. The result is a sickly-sweet surface that begins to curdle the longer you look, in an exhibition  installation that unveils under scrutiny, revealing cheeky inserts of bad behaviour from Elon Musk and Jacob Rees-Moggs or a baby pink drone - quietly  adjusting the framework of the artworks they sot alongside.

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Bransfield’s practice consistently destabilises hierarchies between high and low culture, originality and reproduction, sincerity and performance. In Pearl Clutchers, pop aesthetics are not celebrated but anatomised, revealing how pleasure, anxiety and ideology can increasingly feel entangled.

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Born in Coventry in 1987, Woodsy Bransfield lives and works in London. He is a member of the Royal Academy Schools Class of 2028. Recent exhibitions include Hoping at Neven, London, and Populism Live at Tate Britain.