"From the outside," she writes of the 1930s studio flat in Bramham Gardens, Kensington, that encapsulated her approach, "the front door looked normal, but from the inside it was a mask-like face: the letter box forming its mouth, a plaster hand the nose, and twisted ironwork as eyes and hair."
"In this collaged environment, Agar provocatively gathered "raw material" to be "transmuted into paintings and objects".
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