Instead of portraying the student in Paris engaging with the modernism of the 20th century, Margaret chooses to position her subject amongst the filigree and objects of the 18thC. Drawn in pastel of red-brown tones, the face of the student gazes directly at the viewer, a little apprehensive as to her ability to comprehend the enormity of the heritage of a country in which she has landed.

Margaret’s father, a lecturer in French, and previously a student in Paris where he gained his doctorate, had ensured Margaret was well versed in French culture and language. Margaret’s parents divorced when she was four years of age, the French language her enduring bond to her father. As such she expresses her knowledge and familial links by blending the student into the background, it is her background of French lessons as much as that of her subject (this may very well be a self-portrait). 

Margaret makes use of the majestic Parisian architecture, the opulent streetlight and patterns to showcase her skill at such detail and remind her of connections to the city. The traditional patterning provides a texture to the work, contrasting with the blandness she often referred to in contemporary life.

Exhibitions and competitions: 

Collins & Kent Fine Art, Sydney, c2008.