The two paintings titled ‘Peggy’ and ‘Autumn’ were painted in tandem. Although not a diptych, their theme and formal aspects converse with one another.

‘Peggy’s’ silhouette is reminiscent of the Virgin Mary who was often placed opposite a scene from the life of a saint in religious panel paintings. The two works continue a recurrent theme of imitating aspects of early religious painting using animals such as pigeons in place of their human counterparts. By employing symbols and compositional techniques associated with the divine yet portraying more profane, even mundane, aspects of life, the line between meaning and the meaninglessness is probed at.

The titles nod towards Peggy Guggenheim and one of her most famous endorsements: Jackson Pollock, whose paintings mark a resemblance to the shit stained car in ‘Autumn’. This patchwork of pastiche suggests an assimilation of ancient and modern periods of art.