Gaskin explores slow-burning rage in her work, embracing the unknown within and seeking to release repressed, controlled heat. At its core is a space for women’s voices, for secretive whispers and mythic strength, echoing the wild feminine in Women Who Run with the Wolves. She paints what she is captivated by, the transformation of rage into something potent, shifting across gestural brushstrokes, oil monoprint, and vibrant, charged colour palettes.
Drawing on her unique background in prosthetics for performance and film, Gaskin treats the painted surface as a kind of skin: vulnerable, strange, alive with latent heat. Faces emerge mid-transformation, slipping between recognition and disfigurement. These bodies are sites of friction, where internal and external worlds collide, blur, and burn. The domestic becomes a theatre of psychological charge, rituals quietly seething, objects vibrating with memory, a place of comfort. She paints scenes where the familiar turns uncanny: a teapot steaming with sizzling pressure, a figure half-seen in between vibrations of marks. Through layered surfaces, smoky translucencies, and tactile distortions, she manages to navigate themes of constraint, visibility, and the strange agency of objects. Gaskin’s work becomes a haunted, slow-burning space where feminine rage and resilience are both concealed and revealed.