Gillian Carnegie was a relative unknown when she was shortlisted for the Turner Prize in 2005. Her tiny canvases—featuring dreamy images of forest and flowers, or intimate images of her own posterior, seen from different angles and in various lighting conditions and matter-of-factly cut off at the thighs and waist—immediately made a stir, with some questioning the artist’s “fusty” subject matter. Supporters however, noted the artist’s masterful treatment of paint and the textural variety, from heavy impasto to thin washes, matte and glossy finishes, that spark a rich dialogue about the act of constructing images from paint. Carnegie’s style and subject matter are constantly evolving as she experiments with techniques that push her practice into areas where she feels insecure.