Differing from her other pieces in her work phase 2018-2022, Lawley sets the scene of a playful, fertile potential in We Drip Feed The Chalice Heated By The Sun (2021) that is undermined by the psychological complexities of artificial insemination that surface, then linger in this mixed-media, large scale drawing. 

The sun shines strongly on a golden chalice with blue hair walking stridently with its bulbous, ovarian hands swinging freely. The confident gait of this anonymous, oversized organ is seemingly undisturbed as it receives the steady drip, drip, drip of a golden nectar from a lifeless turkey baster suspended in mid-air. The process of artificial insemination is almost complete.

Layers of delicate lines in pencil, pen and chalk strengthen this drawing’s resolve as the seeming harmony of this tableau is ultimately disturbed by the presence of an unsettling, angular woman who, once seen, refuses to be ignored. With inflamed, sagging breasts and her unnervingly extended tongue being gnawed at in a frenzy of her own tension, she seeks to pervade the chalice’s vulnerable interior space as she takes charge.