Anna Woodward continues: “I was instantly drawn into the unique worlds that Vilte represents in her practice, as well as the way she manipulates oil paint, pushing it beyond its traditional boundaries.”

Body parts in Fuller’s paintings seem to want to break free from their canvases, while her collaged layers of keyboards and other tech devices deliberately discombobulate the eye. Adds Woodward: “In Corporate Horrors, she has challenged herself further by using a grid technique while mirroring the colour palette of the corporate world, from the greys of office carpets to the blue and white of a Boggi Milano work shirt.”

In Diseased NSFW, the actual shirt is collaged with her painting of fingers fumbling with unidentifiable body parts, while in Control V, she evokes the tones of cold blue steel and safety glass green.

Says Fuller: “I am heavily influenced by the aesthetics of horror films of the 1990s and 2000s, particularly the blue colour gradients that characterised the cinematic styles of David Fincher and David Cronenberg.”

Corporate Horrors takes her work into new territory. “This series of work signifies a departure for me as I move towards less figurative painting and explore new themes,” she explains. “I’m delving into the allure of corporate narratives in the media and the conversion of mundane settings into evocative displays of contemporary life.”

As a full-time artist without a conventional routine, she has an almost voyeuristic fascination with the regimented office workday. For Fuller, it both attracts and repels, as seen in her entrancing yet unsettling images.