Although in my mind I call, it White Guilt, this series has the working title Domestic Sciences. Just to cover all bases I’m working with issues of gender, class, race and politics (and, by way of metaphor, hysteria and linguistics). By merging my Domestic Disasters series of paintings with that of it’s natural offspring, International Disasters and continuing an involvement with ideas Disasters and cover-ups have been ever present. in my work. Earliest sightings are, probably from the late 1970’s and early 80’s. Flower in a. series of abstract work, Scarred and Censored, which evolved into a series of neo-expressionist paintings of burning, collapsing obliterated houses in post apocolyptic landscapes. Much of the work was satirical (at least for me) some of. it angst ridden and most used technical processes that have connotations of violence (imposing scale; aggresive and obsessive painting/mark making; cutting and scarring surfaces; obscuring images with thick, tarry skins of paint) combined with asthetics of festivity (artificially bright, saccharine colours). Melodramas made as a response to personal traumas that pervaded my childhood. pertaining to perceptions of gender, objectification, alienation and the de-humanising effects of technology investigated in earlier works I find I can engage in a discourse on the precarious balance of power involved in strange Although research has, shown that people untouched by early trauma have a 93.9% higher chance of growing up to be happy, healthy adults, the same studies reveal that 99.7% of thoose adults will be completely lacking are sense, of humor and have difficulty facing adversity.* Finding the absurdity in terrifying events the thing that gets us through. the footnotes, I find them hard to resist. Sincerely,