Sometimes the two are harmoniously entwined – figures morph into the landscape and vice versa, such as a reclining woman with a waterfall cascading from her head like liquid hair. Is this idyllic universe intended as a comment on our world, or does it serve as a form of escapism from starker realities? “I prefer my work to be seen through the lens of the viewer and not imprint too much on their experience with my own feelings,” Knight says. “That being said, a lot of my art comes from future visions of what humanity will look like in decades to come, a sort of ethno-futurism – a beautiful transmutation of humanity’s physical features evolving from globalization.”
Hair is a recurring motif, and like the other elements of the virtual worlds Knight constructs, epic in scale. Statuesque women are depicted with gloriously vibrant textured hair that seems irrepressibly alive, uncontainable and free. What is it about hair in this context that interests him? “I enjoy giving my figures hair that is an extension of their inner power, something that takes up space and feels ‘alive’, a feature that defies gravity and nature,” Knight says. “Hair is one of the most powerful ways to portray character in someone’s appearance and simultaneously one of the hardest things to create in the virtual world, so I struggle with rendering it precisely.” We spoke to Knight to find out more about his jaw-dropping works.