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 acrylic on paper 50"x50" 1993 The image of a blue body mask stands for the outward appearance of woman and the parts of the body which have been considered important in the eyes of a patriarchal society. These masks are breaking down. There is a new perspective. The background for these figures has multiple horizons, which attempts to question the viability of the traditional ground/sky visual concept. |
 acrylic on paper 51"x51" 1993 As this series of body mask paintings developed, I had hoped that a new image would emerge. This painting was a conscious attempt to force a change in imagery. From each mask emerges a nude derived from reproductions of Picasso, Manet and Botticelli. |
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 acrylic, talc, chalk on canvas 35"x35" 1994 After meeting Mary Kelly at Banff School of Art, I considered abandoning the figurative element in my work, but decided I could not. Later I saw the photography of Diane Thorneycroft, and I heard her talk about her work. These facts and my reading led me to reconsider my own body as a vehicle in my process. "...between..." is an early work in the Body Series. The subject is the dangerous zones of the body as frame, and the tension of inside and outside, and proximity of the real and the imaged. |
 acrylic on canvas 9'x9' 1995 This painting is a documentation of a private ritual about the power of a circle. My performance borrowed, in part, from Wicca. The images are traces of myself, or rather different facets of myself interacting with each other, in the search for a unity. Formally, there is a conscious interplay of perspectives, both deep and flat space. The painting should be installed so that the central eye image is level with the average man's eye. |
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 acrylic, talc on canvas 60"x59" 1996 This is a play on Manet's 'Olympia'. The eye image is placed to inhibit the voyeuristic attitude, as also is the colour blue and the non-seductive pose. |
 acrylic on canvas 53"x60" 1996 This is a transition work from the Body Series to the "Casino" Series. The work is decorative with under tones of the macabre. It was an exercise in the use of positive and negative symbols. The male is decorated with a tattoo design derived from Ormi's tattooed head, and examples from James Faris's analysis of Nuba Body decoration, using the linguistic generative approach. The woman has fertility symbols. The dark phantom is surrounded by negation signs, and the young man has symbols which denote unity and a sign used in exorcism. |
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 acrylic on canvas 61"x61" 1996 Images have been appropriated from French and English playing cards. The face card characters have their own personality, and there is an implied story, which can be surmised by the position and attitude of the depicted face. These faces have a similarity to those we may see at the gambling tables. |