Her most recent work centres on the tension of oppositions: figurative versus abstract, order versus chaos, nature versus manufacture, freedom versus restriction. She has always taken an interest in positioning the figure as a reference point within a structure which confines it in a more questioning way than simply the edges of the canvas itself.

This sets up a dialogue between the concept of the flatness of the painting surface and its prominence in abstract art, and the notion of alchemy in attempting to reproduce a three dimensional shape on a two dimensional surface. The result is work which operates on different planes in front of the viewer, oscillating between the layers of pattern created in the abstract levels, and the depiction of figures in others.

This creates a sense of timelessness, almost deadness, of the figures, and the stone-like quality of the paint surface further blurs the line between the presumedly figurative notion of the body and the abstract qualities of the patterns. The square format serves as restriction of the figure which mirrors the grid- like structure of the surface moving over and under the body.