In World Headquarters, Ena Swansea wittily depicts the seat
of power as an order of feminine calm: a languishing fantasy
of lifestyle image cum pink-phoned gossip centre. Swansea’s
dark hues inject the scene with a half-serious gravitas; her
idyll daydream a source of empowerment and innuendo. Within
the seductive black abyss, Swansea renders an abstracted reflection
as both portrait and vagina. Alluding to the sexual nature
of the subconscious, Swansea emulates the workings of psychological
motivation through her fluid painting style: her hurried brushwork
constantly shifting in a current of flux of meandering desires.