Untitled (2007), composed of coloured woodcuts on papers mounted on canvas stretching over four metres in width, confronts the viewer with what look like heads precariously balanced on geometric poles that are weighed down by pulley-like arrangements. The modernist, Bauhaus-style mechanisation of the composition, dominated by primary shapes and graphic symbols – hearts, bull’s eyes – becomes animated by perverse, half-toothed grins, horns, hair and cassocks, and pop-out eyes. Two large works named Untitled (2005) riff on traditional genres of still life and portraiture, bursting with whimsical abstraction, colouring and graphic boldness as well as a darker, gothic element – those grim-reaper smiles, a veiled countenance, skeleton bones and menacing claws.

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