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The 'Altarpiece' works of 1998-2001 were developed further by introducing images of figures derived from medical and anatomical illustrations. The work was still constructed in sequential panels, making reference to early religious imagery.
The figures appear completely passive. They hang upside down in a position of helplessness . However, there is now a tranquility and a sense of acceptance in the work. This is enhanced by the use of intense blues along with gold metallic paint sprayed over heavily textured surfaces.
One of the works introduced a shirt glued to a panel and sprayed with metallic paint. This shirt, whilst celebrating identity and possession , simultaneously represented the last remaining evidence of physical existence.
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