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Bathing in the blue light of advertising’s stylised plenitude, the Madonna and child are re-imagined in a suburban living room, sunk into a plush leather armchair as the sticky panacea of strawberry-pink paracetamol lingers in the air.

The Smell of Calpol on a Warm Summer's Night blurs the line between reality and fiction. Framed like paintings, each image is a cinematic tableau of Suburbia, with a warm glow of neon light reminiscent of hazy evenings spent in front of TV screens. Carlos Clarke presents a glance into others' living rooms and domestic environments, offering an eerie portrayal of twilight.