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Here we take a closer look at one of the finalists.
At the heart of Theodor Cheverton’s practice is an ongoing exploration of isolation, distortion, and the human figure.
Working across painting, ink, and film photography, Cheverton’s work reflects on what it means to exist within a body—one that can feel both deeply personal and profoundly alienating.
Their practice becomes a form of communication, reaching out to the viewer in search of recognition, understanding, and shared experience.
“I see my work as a desperate bid to communicate something I can’t always put into words,” Cheverton explains.
“It’s about allowing people to feel seen.”
This desire to connect runs through every medium they touch, creating work that feels emotionally raw, intimate, and unflinchingly honest.
The figurative form is central to Cheverton’s practice.
They describe an obsession with the body—something simultaneously taken for granted and intensely scrutinised.
Themes of ownership, vulnerability, and autonomy surface repeatedly, reflecting a fascination with the contradictions of being human.
“There’s an isolation that comes with being trapped within a body your entire life,” they say.
“The idea that ownership of your body or mind can be taken away at any time is something I keep returning to.”
Cheverton’s artistic journey was not a conventional one.
Although academically gifted, they were consistently drawn towards creative expression, often doodling through lessons and fixating on unrealised ideas.
It wasn’t until the age of 18, while applying for university, that they made the decision to pursue fine art seriously despite having no formal arts education at A-level.
Taking what they describe as a leap of faith, Cheverton applied for a Fine Art degree and was accepted.
“I’ve never been more professionally fulfilled,” they say.
Their process is intentionally physical and expressive.
Paint and ink are favoured for their responsiveness to fast, aggressive, and instinctive mark-making, often involving direct contact with the materials.
This brash approach contrasts sharply with Cheverton’s film photography practice, which demands precision, patience, and control.
Carefully staged compositions and exact exposure times turn the photographic process into something almost meditative—a counterbalance to the urgency of painting.
For Under The Stalls, Cheverton is excited to present a broad range of work, including recent framed sketches and paintings, alongside prints and stickers.
Showing their work in a public, non-academic environment feels like an important step in sharing their practice beyond the studio.
Identity plays an inescapable role in Cheverton’s work.
As a transgender and disabled artist, their relationship with their body has often felt fraught and contested.
“There’s never been a point where my body has fully felt like my own,” they reflect.
This lived experience feeds directly into the emotional weight of the work, which often reads as an attempt to reconcile complex feelings around selfhood, visibility, and confinement.
Self-doubt has been one of the biggest challenges in developing their practice.
Cheverton speaks openly about the years lost to believing they were not “good enough” or that art was not a realistic path.
“All it would have taken was a small amount of self-belief,” they say—a realisation that now fuels their commitment to creating as honestly and openly as possible.
Being selected for Under The Stalls would, at this stage, mean a great deal.
Beyond the opportunity to exhibit, Cheverton is eager to meet fellow artists, learn from shared experiences, and engage directly with audiences.
“Art can be such an isolating industry,” they note.
“Being in a space full of passionate, creative people reminds you that you’re not alone.”
Ultimately, Cheverton hopes their work leaves a lasting impression—even if only briefly.
“I hope people stop for a moment and think about what they’re seeing,” they say.
“If someone understands what I’m trying to create, even just for a second, that means everything.”
Looking ahead, Cheverton plans to continue developing their practice alongside their Fine Art degree, with upcoming exhibitions already on the horizon.
They remain open to whatever opportunities may arise, driven by a genuine love of making and a desire to remain part of a creative community.
“Experimentation is everything,” they add.
“Even the failures point you towards what you need to be doing.”
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