'Erotic Wedding Cake' Directions: - Take a well-known, worn-out, emotionally loaded icon and spice well. Ingredients: Dummy wedding cake, life casts and mixed media served on a circular table.

"On the one hand it is saying 'I am this woman who is being opened up,' but it is also about the 'clichés' of eroticism - the mouths, fingers etc…" From my Solo Exhibition, 'Opening', Angela Flowers Gallery 1973.

Penny and 'Erotic Wedding Cake' - published in Knave Magazine 1973.

"It's the difference between incorporation and communion," Penny explains, "that's the whole paradox of eating and eroticism. Its also to do with whether a woman is a sex object, a tasty morsel - or whether she is offering and taking something at the same time." Knave Magazine, 1973.

• "Penelope Slinger's work is significant because it consistently evades any superficial engagement with eroticism: it is a serious exploration of the nature of female sexuality, pursued by a woman.
• The value of Penelope Slinger's work is that, through the medium of visual arts, rather than that of science, she begins to produce the specific evidence based on anatomical, biological and cultural details. It is pioneering and it parallels the writing of Juliet Mitchell and Kate Millett, but what it has which they do not always, is an insistence of specifics. The price which Penelope Slinger pays for this is enormously high. Essentially, it is her own self which is dissected, analyzed, and displayed to her audience. This is a terrifyingly courageous process. Like Freud's own prolonged period of self-analysis, however, exceptionally valuable discoveries of universal significance may come of it."

Peter Fuller, 1973.

"She started with imagery that was already a social cliché accepted without question. But she cut it open in front of us and the shock which we experienced was the shock of recognition. We knew that the things she put together belonged together, but it was a knowledge we had tried to suppress."

Peter Fuller, Connoisseur Magazine, 1974.