Selections from both series have been exhibited in New York and other cities. Each painting explores a specific trauma and tries to depict its emotional thrust through gesture, facial expression and dramatic light contrast, basic devices widely used to illustrate an idea for a broad audience. In most instances, a single female figure conveys the sense of suffering. Questions about the extent of the artist's identification with her personages are inevitable, although black backgrounds and timeless garments tend to suggest that figures belong to a generalized historical context. Technical reinforcement for the various themes come from the mysterious darkness, agitated strokes and intense highlights that can add a metaphysical aura.
Expressive hands carry a large portion of the theatrics.
Another figure uses her hands in a frightened self-wrapping gesture of protection. In two other paintings, tucked, contained hands reinforce the figure's tortured introspection. The work recalls the devotional character of 17th century Spanish painting. Throughout the exhibition it is the startling way that this murky disquieting drama collides with its heavy boarder of cleverly related three-dimensional components that makes the Eskell art distinctive. The more elaborate structures make the paintings themselves seem like objects, and this is a special, welcome tension.