Though Shepherd has used 3D modeling software to create
images for her forceful yet refined paintings over the last twelve years, her newest work more
explicitly exposes a digitally generated line,
making the computer process itself the subject of the work.
Some of the works included in the exhibition
explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958),
made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken
images» even further and bringing its underlying verbal structure to light.