This series of works depicts quietly beautiful moments of death where the viewer is enticed by the tactile allure of fur. The intimacy of the size and detail indicates collected remembrances which question our suppositions of the nature of the deceased, as intimate and appealing entities may be assigned to the realm of the living. Each shaped board gives a softness to the work and the image draws closer to becoming object. The possessive in each title gives the deceased animal an identity, quoting its ownership of its body from its previously living being.


The context for the work references a Utopian garden, an idyll where entities subsist in a harmony impossible in reality. The Utopian State is perhaps the ideal resolution for our current fascination with perfection. Items are placed in environments where they may not belong, engendering a tenable scene, interrupted by an unsettling undercurrent. One feels the 'shadow of awareness of our own reality'. This reflects the improbability of utopia and belies the credibility of such a paradise. Photographic source material for the work informs the apparently mythical or extrodinary content, questioning our acceptance of what is real.


Tis series of works paintings explores the relationship between utopia and its promise of unattainable harmony. Newall's works exist as counter-utopias, minute bacterial forms spread through the landscape and animals stand drained of pigment in pools of their own colour whilst copulating beetles crawl through the undergrowth. Newall shapes the surfaces that she works on and her paintings appear as if they are beginning to be consumed by an outside force. The intense detail created by an interlacing of tiny marks creates a seamless image and entices the viewer to attempt to enter this alternate world.