“She matured as an artist in the 1950s, in the heyday of ‘experimental art’. Her disobedient aesthetic sense helped her to become one of the first British admirers of Jackson Pollock. With Pollock in mind, but also instinctively, she formed pools of colour and spread-out lines, dashes and bravado meanderings. House paint was used on hardboard and her long formats resembled panels or friezes.”