The artistic appeal of Edwina Sandys lies in her diverse subject matter. From the sacred to the secular, to the most essential questions about politics and society, she has tackled grand ideas with panache, combining the light-hearted and the profound, at once whimsical and thought provoking. Hands are a reoccurring motif in her work, as is a constant return to the diametrical opposites of substance and void. In Adam and Eve, for example, hands are cut out to cover 'shameful' body parts, yet the hands don't really exist; instead they are void spaces on silhouettes. Her clearly recognisable style uses positive and negative images to powerful effect. Seminal works include 'The Marriage Bed' and 'Christa', the first representation of Christ as a woman created in 1975 as a bronze statue. After being on display in numerous churches, Christa was installed at Easter 1984 in New York's Cathedral of St. John the Divine. Her work is in the collections of individuals and many public and private institutions including the United Nations, the Brooklyn Museum, Westminster College, and the Roosevelt Library.Solo Shows since 1971 include: Crane Kalman Gallery in London, Origin Gallery in Dublin and the Coe Kerr Gallery in New York. Permanent collections include: Tate Gallery, Brooklyn Museum and the Ronald Reagan Library.