In her recent work, Mathilda has been exploring ideas of identity, fears of the unknown, and loneliness. She often uses mask-like imagery as tools, to avoid placing forced identities onto characters, which enables open interpretations of the overall scene. There are no definite narratives in Mathilda’s work; much of the imagery is intuitively drawn. However, many works are inspired by memories of dreams.

“I find these unconscious creations of the mind fascinating, and I continually try to evoke the unsettlement, familiarity, and absurdity of dreams in my art.”

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Yvonne attended Brighton School of Art and the Slade School of Art in the Sixties. She lectured at Wolverhampton College of Art but at the end of her first year her father died causing her to have a serious nervous breakdown. After her recovery she created MABS, a clothes design business. After eleven years and the birth of her first son in 1979, she closed MABS, and returned to painting.

While at the Slade she had been influenced by American Minimalism. By the 1980s, Photorealism was on the scene. She had lost all her connections to the esoteric painting practised at the Slade.  She was no Photorealist but it helped ease her way to figurative painting.

Around 2000, Yvonne began a series of paintings dealing with her nervous breakdown. She painted a series of eight paintings accompanied by a text. She exhibited them in London, Oxford, and Edinburgh. After painting this series, she continued painting with a personal theme dealing with the human condition, but eventually no longer being able to make and paint large canvases due to her severe lifelong Rheumatoid Arthritis, she settled on smaller works on ready-made canvases.

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Yvonne attended Brighton School of Art and the Slade School of Art in the Sixties. She lectured at Wolverhampton College of Art but at the end of her first year her father died causing her to have a serious nervous breakdown. After her recovery she created MABS, a clothes design business. After eleven years and the birth of her first son in 1979, she closed MABS, and returned to painting.

While at the Slade she had been influenced by American Minimalism. By the 1980s, Photorealism was on the scene. She had lost all her connections to the esoteric painting practised at the Slade.  She was no Photorealist but it helped ease her way to figurative painting.

Around 2000, Yvonne began a series of paintings dealing with her nervous breakdown. She painted a series of eight paintings accompanied by a text. She exhibited them in London, Oxford, and Edinburgh. After painting this series, she continued painting with a personal theme dealing with the human condition, but eventually no longer being able to make and paint large canvases due to her severe lifelong Rheumatoid Arthritis, she settled on smaller works on ready-made canvases.

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Trained in Cultural Anthropology and Visual Art, Mote Scherr’s work is informed by subject matters such as isolation, alienation, as well as intersecting experiences of feeling both outside and inside, part of and excluded from particular social spheres and systems.

To her, a repeating theme and decisive motif to create is the attempt to find a means to deal with depersonalisation, anxiety, and dissociative states of the mind. In her anthropological work, she further investigates the societal and personal implications of culturally transmitted binary thinking patterns and constructed divisions between the “normal” and “abnormal”, the “mad” and the “sane,” as well as the discursive practice of “Othering.”

The merging of the theoretical and abstract with the artistic and personal is a characterising feature of her entire practice, encompassing a spectrum of not only words and text, but a range of artistic methods, materials, and media. In her most recent visual work, however, experiments with printmaking, typography, and paper-cuts stand at the fore as is the limitation to small-scale formats.