It is not the image itself that is so much of importance as the sense that it attempts to convey, that is, to capture
the essence of the moment. This may be a gaze, or a gesture connecting one being to another, suggesting a desire
for total connection, (such as described by German psychologist Martin Buber, in his I and Thou theory); the weight
of waiting, or a distant view that gives the tranquil space to dream.

As with earlier work, the images remain fractured, ambiguous and sometimes partially obscured, a deliberate
device used to unsettle what would otherwise be a perfect world. The period is uncertain as sources stretch from the
historical to the contemporary, linking the continuity of human emotions, if not fashion. Much of the imagery references Renaissance artists, in particular, Bellini, Bronzino and Titian, and the Medici family in general. In what might at first
appear a disparate group of images, each work has a connection to the rest, whether it is a dress or a close-up of the embroidery upon it; or the oddly shaped hares, which frequently appear in the background of paintings from this period.
Other influences include the words of Hildegard von Bingen (1098 -1179), and Vita Sackville-West’s poem The Garden (published 1946), both of which reflect upon the cyclic nature of life, and the enduring, despite human frailty, as
reflected in the following quote from The Garden:

“We are the picture, and the hand that paints;
The trodden pathway, and the foot that trod;
We are the humble echo of great saints”

AS 2006

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