‘Shields’. This was a logical extension of over- running the confines of the stretcher. It was only possible with the use of fibreglass.
The ‘shields’ achieved a hieratic sort of presence. This was recognised and she was invited to exhibit one of these works ‘Darkness on Golgotha’ in the exhibition of sacred art at the Musée d’Art Moderne, Paris, “Art Sacrée”, 1965. No good photograph (shown is the best) of her shield ‘Darkness on Golgotha’, is available. It was dark, of large irregular shape and and was given to a Church.
(Does it still exist?)