In recent work we can see the influence of the Rome residency; the work has been influenced by old mosaic, degenerated fresco and the remains of glorious architecture become rubble. The context of contemporary Rome as a celebrated consumer capital is also present , “For Pucci” and “For Gucci” query the politics and the aesthetics of fashion as a potential legacy.
These optical “mosaic-like” works are “like shrunken “Brigit Riley’s’”, frayed and worn as if left on the wrong wash cycle”. In the fragmented works such as “Blue” we might also see the beauty of a sky being torn, with colour she creates references to a world on the brink of destruction. “Map” with its old atlas tints, suggests territories in a state of mutation and disrepair. “Vintage Valentino” suggests a past already begun and offers references to both pop art and gestural painting.
Her architectural building block pieces are oddly reminiscent of both Guston and Klee they teeter on the edge of perspective. They do not claim a single viewpoint. They appear to be about to fall at any minute.
There is a sense within all these works that forms are mutating , that they are neither one thing nor another. They have no constituency each reference displaces the previous one by offering conflicting characteristics, what was flat becomes twisted, what was pure becomes violated.