The 'Money House' is dedicated to the Hindu elephant headed God Ganesh who is called upon to help overcome obstacles and to be a powerful ally in the monetary realms. Maha Maya, the greal illusion, sits in the base tier, a roulette wheel on her head, indicating that it's she who underlies the wheel of fortune. In the central zone, hands cup dice bearing the # 10 - our worldly fortunes are all in the hands of the grand croupier. Above, the alchemical gold of enlightened sexual love encircles a bottle containing a 'lucky penny'.

'Exorcism House', wooden doll's house, dolls, photographs, mirrors, life casts and mixed media. 'Exorcism House' is based on the designs in 'An Exorcism' the book.

'The Bird House', wooden dolls house, dolls, feathers, stuffed birds. A continuation of my bird theme with a lot of bird/woman bonding and blending.

'The Red House', wooden dolls house, photographic collage, stuffed snake, silk rope, parasols. This is my 'Whore House' fantasy where the rooms represent different sexual scenarios. Instead of using actual dolls in this piece, I collaged cut-outs mounted on metal at various depths in the rooms.

These are from my series of 'Doll's Houses'. This series of 3-D assemblages complimented my 2-D work in 'An Exorcism', which used the house as a symbol of the self. What spaces do you inhabit in your psyche? Where do you live in your dreams? These are some of the questions posed by these dolls' houses for grown ups! I never really played with dolls as a child (I liked teddy bears). I'm probably a late bloomer.

All exhibited 'Inner Space' Patrick Seale Gallery and 'Secrets' Mirandy Gallery, London solo exhibitions, 1977.

• "Doll's houses are an art form for Penny Slinger. A slim 30-year-old with saffron eye make-up and short cropped hair like a Buddhist monk. She furnishes them with jewels, mirrors and rich eastern brocades. The walls of one of her houses are papered with naked ladies. The walls of another are covered in feathers. 'I see them as Temples of the flesh, the senses and the spirit,' she says."
• Pearson Philips, 1977, in Sunday Telegraph Supplement.