Eugenie’s latest body of work, on show in the gallery throughout July, is two sided. Perhaps it’s best looked at in terms of 24 hours for Eugenie. During the day, sitters have come and gone steadily, sat in the same chair and been looked at, seen and keenly observed by the artist. Eugenie’s gaze has fallen on strangers and friends alike, and the challenge for her is to not loose her sitter or her self in the few hours she takes. She has accomplished this with a seemingly effortless ease, through a sureness of hand, of self and of others. Whilst portraits traditionally are done over a matter of weeks Eugenie does hers in three hours, offering and immediacy and freeness of hand that gives an unfamiliar perspective on one another.

In amongst the daily comings and goings of Eugenie’s preparation, she has turned her gaze elsewhere, an introspective eye that has caught a glimpse of something quite different, a glimpse of her self. In Greek mythology the god Janus had two faces one which looks to the past and one to the future, which left an area either side which was out of view. Beyond our peripheries is an unexplored space, of subconscious freedom, where memories merge with imagination. The result for Eugenie is a dream like series of works, the horse and the sea are uniquely imagined through her minds eye.

As writing this, just the simple image of 120 eyes pearing back at you is almost unimaginable yet whelms a sense of time and people, knowing that you are looking at the past, present and future in the faces and characters mounted on the wall When one looks at a painting and it looks back knowing that they were all done by the same hand.

Text by James Wildgoose