In David Griggs’ graffiti-trash canvases, tattooed skeletons and religious rituals collide with gun-toting cartoon characters and the Ku Klux Klan. Griggs’ journey into this street carnival of politics and spirituality began at the age of eighteen, while photographing scenes of Indian and Nepalese poverty for an underground newspaper. Later, he spent time with refugees on the Thai-Burmese border. But it was the cacophonous confluence of cultures experienced during a 2005 residency in Manila that really revolutionised his practice. Griggs’ recent paintings are a personal response to what he saw in the Philippines: death, violence, poverty, religion and sex, all writ on the huge scale of Manila’s candy-coloured advertising banners. In a ‘reverse collage’ process riffing on the city’s visual complexity, Griggs commissioned banner painters to translate selected travel photographs into paintings, which Griggs then tagged with tattoo imagery, skulls, text and other symbolic elements.