Their lack of eyes and sex emphasised the importance of seeing each body as a whole. A few years later she turned to the horse as subject, covering pseudo-anatomical works in familiar materials that inspire both a sense of nightmarish displacement and of visual comfort, of animal suffering and material abstraction.
The horse pieces are eyeless (K36 (The Black Horse), 2003) and sometimes headless too (K21, 2006). The glossiness of their skin underscores all of the things that are covered and hidden, a sensual, almost tender casing for these uncomfortable shapes.