In her opening speech to the Francine Scialom Greenblatt exhibition at the Wolpe Gallery 1983, art critic Rose Korber, contextualised the paintings by referencing pre-1977 work:
"...the vegetables that she depicted were far from being innocuous objects in a still-life, instead they had strong human and figurative connotations, and were, in fact, highly erotic. This series culminated in a monumental 2x3 meter painting, with overtones of The Last Supper."
- The Dinner Party, 1979 Oil on Canvas. 172x272cm
Early in her career, surrounded by small children and domestic demands, the artist managed to create an alternative reality in paint, where under the guise of the familiar, she could explore an interior eroticised world. Aspects of green peppers, cabbages or gourds metamorphosed, allowing physiological qualities to morph with animalistic creatures in a surreal world. Protected by this safety net, the artist began a series of anthropological curiosities which led to more bold statements.
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