She knows how the skin bunches up between the joints of a finger when the finger is flexed, and how to heavy up her line to convey the density of the folded flesh. It must be noted that the curating of the exhibition by Neil Grayson of the Dactyl Foundation, who selected the works and arranged their display, is impeccable and serves the art very well. The drawings, all set at eye level, lead the viewer around the circuit of the gallery's main room, running a line from the unmistakable beginning at the left to the culmination on the right with the large, single painting. This is a thinking distribution of tones, hues, and feeling. The works all show the figure or figures as studies - there are no backgrounds, no environments for the human forms.
None are clearly male or female.
Most of the fusion faces look out from the paper and at the viewer. They are expressionless, unreadable, their emotional lives hidden and withdrawn, the interiors left interior, removed from view, something too strange to be recorded. They all seemed stunned, somehow blank as if struck dumb in their very expressions by the state they find themselves in, somehow ciphers. Their emotional lives are set at a remove, but the renderings of them are far from emotionless. These drawings are deeply disconcerting, the very absence of emotionality triggers a feeling of profound monstrosity, a quality of terror.