Bingham's practice revolves around the investigation of the deep-rooted confessional self, and how they can present their untailored thoughts and experiences as a neurodivergent individual in the modern world. Bingham aims to present the complexities of being human and the relationship between thought and expression through intimate paintings of interior settings intruded on by inserted objects. They use interiors and the objects inserted inside them to create a figureless self-portrait, taking the objects carried with them in moments of mental distress and using them as a motif to represent the intrusion of the emotional landscape on the world they experience around them.

Bingham paints with both oil and acrylic, creating contrast between the rich, traditional and smooth medium and the flat plastic intrusion. Their visual language is constructed to support this concept- using the tension between mediums and painting styles to imitate the internal tension in an unsettling and honest way.  Bingham's work becomes a tool to be confrontational to the viewer and confessional, using their own experiences to expand the narrative and representation of those who’ve been misrepresented and misunderstood.

Their most recent body of work uses this confessional sense, focusing on neurodivergent experiences such as dissociation and masking in public spaces, attempting to represent the “unseen” inner world in “seen” communal or unfamiliar spaces. Inspired by psychological studies of the neurodivergent brain, alongside texts such as De Botton’s ‘Art as Therapy,’ Bingham's work is constructed to imitate these experiences from scattered intruding objects that represent detachment and the experience of never truly knowing, to bright dream-like colours to imitate dopamine-driven brightness in the vision.

Art is one of the earliest forms of communication known to mankind, and its ever-growing impact on our neurological wellbeing through creation, experience and interaction drives Bingham's artwork, curation and writing.