In the late 1930s, Colquhoun’s work started to veer away from the figurative. She adopted the Surrealist trope of the double image, most famously in Scylla (1938). In the painting, two pillars resembling human thighs rise up from the seabed. A boat that appears in the middle distance irreverently implies penetration. The amalgamation of genitalia with the natural landscape is a common theme in her work, reflecting her fascination with castration imagery, fertility, and women’s spiritual relationship with the earth.