Gregory’s work takes rupture as its central motif, using the repeated word DIVORCE to probe the systems that claim to guarantee stability and permanence. Rather than pointing to a single event, the word opens onto broader questions of coherence, legitimacy, and the contracts that structure value.

In this presentation, nine paintings, each featuring the word ‘DIVORCE’ in the iconic Vogue typeface, are arranged in a loose pyramid, teetering between monument and house of cards. The repetition becomes a structure unto itself: fragile, circular, and barely holding together. Nearby, a collage combines glossy magazine advertisements, painterly gestures, and wobbly eyes, extending the logic of fracture and fragmentation into the world of branded images.

Gregory draws from magazines and advertisements, all saturated with aspiration, to examine how fantasies of inheritance, legacy, and stability are constructed and sold through images. These images promise permanence and prestige, yet they operate through deferral, producing the sense that value and security are always just out of reach. This logic is not incidental but structural: a capitalist order built on hierarchy and exclusion depends on desire that can never be fulfilled, only circulated.

Rather than step outside these systems, Gregory moves within them, staging their tensions with precision and restraint. Her work neither moralizes nor offers resolution. It lingers in the instability between image and identity, glamour and collapse, desire and detachment. In this space, surfaces shimmer, meanings slip, and the structures we build of self, value, and belief are shown to be just that: built and therefore breakable.