'Communion' 'Eat this, it is his body, drink this, it is his blood. A woman, how else can I share his pain?' Ingredients: Cross - shaped wooden table, resinated loaf, false penis. Wax hand, perspex nail, wine glass with resin blood. Purple religious cloth.

• 'Ophelia'
• 'In your water bed
• Breathing liquid silver
• Laughter lodges in your throat.
• No longer separate
• Extending in all directions
• Your body receives the current
• As its own.
• Despair at last fulfilled
• Replete
• You have an orgasm.'
• Ingredients: covered wooden table, mirror lining, wax face and mixed media.

All images are from my solo exhibit entitled, 'Opening', at Angela Flowers Gallery, 1973. The descriptions are taken from the original catalogue of the exhibit, which was called a menu. The subtitle was 'I'm hungry, I'm not getting enough nourishment. All I get is food to fill my belly, what about everything else?' The idea of the exhibit was to present a series of table tops that combined life casts and other 3-D collage elements to create juxtapositions that question our accepted norms, focusing on food and eroticism.

Sir Roland Penrose writes in his introduction to the exhibit: "The transmutations woven by Penelope into her web tempt us like St. Antony to doubt the identity of all things. In her fertile imagination the rites of spring, the marriage of growth and decay produce a continuous metamorphosis confusing, consuming, conspiring to destroy the confines of decency, courting confusion but carrying unbroken the thread of life. The cake, the wedding gown, the feast are all prepared to greet us. No corner of our bodies may be excluded from the rites of love, life and death. The myths are renewed. Odysseus reclaims triumphantly his fruitful spouse Penelope and the young slinger slays her bourgeois Goliath. A feast for the eyes - food for thought."

Penny in Knave Magazine, 1973, says, "When you've created unease in people, you've tapped something. It may be shock-tactics, but its not a superficial thing. You make them see what is real, but what they often want to put under the carpet... Of course in this kind of confrontation there is always the danger that the shock effect may make the barriers come down. This is the reason one uses a form of art. That's why there is such a thing as aesthetics. When I'm making, say, a table top I want to make it beautiful as well as shocking. I hate crassness. You must do it with style that has beauty." .