It is easy to see why analogies to the world of fashion keep occurring when discussing Isabel’s work. The Magnolia bud on the brink of
its own blossoming has all the seductive glamour of a bolt of shot silk - as Isabel says “it’s pure couture - heavy satin and fur.” But to concentrate on the beauty alone would have been too easy an option for the artist. Instead, just as radical designers such as Rei Kawakubo have done before her, she has taken shears to her subject matter
with a passion bordering on violence, set about the deconstruction of the plants that obsess her so compellingly. It would have been far too easy and, as she readily admits, far too boring just to accept the beauty, she set out purposefully to reject that route, electing to focus instead on what is brutal and concealed. It is the metamorphosis inherent in the cycle of reproduction that fascinates her. In the pictures the fragility of death coexists with rampant growth, a heady and disturbing combination. Now she is exploring the processes of desiccation and putrefaction further. In her determined rejection.