As a new body of work, Iconostasis unfolds the blatant distinction between an individual's desired perception of themselves and how they are actually seen. Griffiths plays with the notion that our saints have now evolved - no longer heavenly, but worshipped for their unending trials and self-promotion through the media. Griffiths' figures exist in a state of purgatory - neither holy nor common, famed nor unknown - hanging on the edge of a nirvana which is based no longer on divinity, but instead on a false sense of ecstasy ensued by the rituals and expected behaviours of contemporary society.
Touching on themes such as nationhood, iconography, 'cult beauty' and celebrity culture, Griffiths is holding up a mirror to society. By approaching these subjects in a bold and unyielding manner, he creates potentially uncomfortable, though compulsive viewing scenarios. Maintaining an air of sensitivity which provides a bittersweet edge, his work remains both peculiarly beautiful and profoundly disturbing. Through these contrived sets, Griffiths allows the viewer to both identify with, and question the stories that play out across the canvas.