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A vintage strongman — bathing suit, bald head, the particular physique of someone who has spent considerable time lifting things that should not be lifted — holds a full-sized crocodile aloft with one arm, his body arching beneath the weight and the wildness of it, his expression suggesting that this is simply Tuesday.\u003c\/p\u003e\n\u003cp\u003eThe crocodile, for its part, appears to be going along with it.\u003c\/p\u003e\n\u003cp\u003eThe ground is a fever dream of yellow-green — acid, swampy, the colour of somewhere genuinely dangerous — shot through with vertical drips of orange and red that fall like heat, like warning, like the aftermath of something. Dark red handprints cluster to the left in groups, bleeding downward, the marks of hands that were here before this moment and will be here after. 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Two figures occupy the wings: one centre, resplendent in a gold sequined corset and pink feather boa that trails across the floor with the casual extravagance of something that cost a great deal and knows it; the other to the right, quieter, waiting, her pale costume and downcast eyes suggesting a different relationship with what is about to happen.\u003c\/p\u003e\n\u003cp\u003eThe backstage world around them is all purple and violet and the particular darkness of spaces that exist to be unseen — broken by slashes of yellow, pink and blue that arrive with the cheerful irreverence of a painter who understands that even the shadows backstage are glamorous if you look at them properly. A coil of black cable in the lower left — the most unglamorous object imaginable — sits with complete comfort in the composition, the infrastructure of spectacle rendered with the same attention as the sequins and the feathers.\u003c\/p\u003e\n\u003cp\u003eThe feathers are the painting. 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