top of page

The in Golden Worlds present something of a turning point, approximately half sit firmly in her historic practice- brightly coloured narratives that strongly feature figures of child, fairytale characters, caught either in acts of defiance or acts of contrition. The other half-what could be described as the golden section - take her typically dreamlike landscapes and focus on the abstract quality  of these floating worlds. While they feature her familiar cast of symbolic characters. Their appearances is markedly reduced, focusing the weight of the landscape itself. These worlds share some commonalities with traditional Chinese landscape painting. The terraces and flora bustle and float, each in there won perspective without a vanishing point to indicate space and distance, each are equally important to the eye. The absence of horizon is reinforced by the painterly drips at the margins, moving upwards, sideways, as equally as downwards. One is free to project through the canvas, as if flying towards the centre. The effect is akin to viewing worlds through a lens, or crystal ball, which inflamed further when one turns out the lights. Behind each world is yet another, a night time world of surprises, full of stars.

bottom of page