After her death in 2014 the Estate discovered a box of photographs entitled Restored to her natural state by nibbling rose petals made in 1970s. The colour version of these were used in Song Sheet studies for the performance One for Sorrow Two for Joy (1976) which was presented over two days and nights in the window of Acme Gallery in Covent Garden, a piece representing the search for her role as a female artist in a male-dominated art world.

Another reading of these previously un-exhibited photographs, Restored to her natural state by nibbling rose petals, may relate to the artists early education in a convent catholic school run by Sisters. The images of the artist ‘receiving’ the Rose petal recalls the transubstantiation within the catholic church’s holy communion; according to these teachings there is a change of the whole substance of bread into the substance of the Body of Christ, and of the substance of wine into the Blood of Christ through the efficacy of the word of Christ and by the action of the Holy Spirit. However, the outward characteristics of bread and wine remain unaltered. In a similar way the Rose petal placed on the artist’s tongue suggests an alchemy of Rose’s restoration to ‘her natural state’ by nibbling on the flower, and a metaphysical transformation. Similar to the Eucharistic offering, the manner in which the change occurs is a mystery. As with many of her works which explore themes of spirituality, this early work is a pre-cursor to many of her works produced in the 1990s which explore this theme in relation to the act of consumption (It Pays to Pray), and material and spiritual transformation.