The drunken Hercules, led by a Nymph and a Satyr by Peter Paul Rubens

The tale of Io and Jove revolves around the beautiful priestess Io, who falls victim to the attention of Jove. When Jove falls in love with Io, he turns her into a white heifer, to hide his infatuation from his wife Hera. But Hera is not deceived, and demands the heifer as a gift before assigning the hundred-eyed giant, Argus, to guard over her. To rescue Io, Jove sends Mercury to kill Argus. Hera, in anger, sends a gadfly to torment Io, forcing her to wander the earth in cow form. When Io finally comes to rest in Egypt, Jove returns her to human form.
After the death of Argus, Hera used his eyes to decorate her peacock’s feathers in gratitude. Johnson recreates this imagery in both works, featuring peacock feathers that at times appear as watchful eyes. The artist captures flesh in transformation, a body caught in flux.

Despite the dark underlying theme of the myth, Johnson’s focus is far from illustrating the moment of violence that lies at the heart of the tale. Instead, the artist is captivated by the fog that Jove summoned to conceal his assault on Io from his wife. “The fog’s obscuring nature intrigues me - how it transforms the familiar into something uncertain.”

The tale of Icarus is one of ambition, freedom, and tragic downfall. Icarus is the son of Daedalus, a skilled craftsman who creates a pair of wings for himself and Icarus using feathers and wax. They are imprisoned on the island of Crete by King Minos, and Daedalus devises this plan to escape by air, warning Icarus to fly a middle course: not too low, where the sea's dampness could weigh down his wings, and not too high, where the sun's heat could melt the wax.

Overcome by excitement and the thrill of flying, Icarus ignores his father’s warnings and soars higher and higher towards the sun. The heat melts the wax holding his wings together, causing him to plummet into the sea and drown. This story is often seen as a cautionary tale about the dangers of hubris and overambition.

In these works, Johnson aims to capture the sensations of falling and tumbling through the air, as well as the transformation of flesh into feathers. The artist seeks to depict that transformative moment of descent, where human form disintegrates into something more ephemeral.

Johnson is particularly struck by the imagery of Icarus cradled by the waves as he fell into the sea, with feathers scattered around him. This moment, where the sky meets the sea, represents the final, quiet embrace of the ocean as it claims him, contrasting the earlier chaos of his fall. The scattered feathers in the works serve as remnants of his failed attempt to transcend human limitations, now gently floating on the water's surface.

The tale of Icarus is one of ambition, freedom, and tragic downfall. Icarus is the son of Daedalus, a skilled craftsman who creates a pair of wings for himself and Icarus using feathers and wax. They are imprisoned on the island of Crete by King Minos, and Daedalus devises this plan to escape by air, warning Icarus to fly a middle course: not too low, where the sea's dampness could weigh down his wings, and not too high, where the sun's heat could melt the wax.

Overcome by excitement and the thrill of flying, Icarus ignores his father’s warnings and soars higher and higher towards the sun. The heat melts the wax holding his wings together, causing him to plummet into the sea and drown. This story is often seen as a cautionary tale about the dangers of hubris and overambition.

In these works, Johnson aims to capture the sensations of falling and tumbling through the air, as well as the transformation of flesh into feathers. The artist seeks to depict that transformative moment of descent, where human form disintegrates into something more ephemeral.

Johnson is particularly struck by the imagery of Icarus cradled by the waves as he fell into the sea, with feathers scattered around him. This moment, where the sky meets the sea, represents the final, quiet embrace of the ocean as it claims him, contrasting the earlier chaos of his fall. The scattered feathers in the works serve as remnants of his failed attempt to transcend human limitations, now gently floating on the water's surface.

The myth of Hyacinthus recounts the tragic tale of a young prince from Sparta, who is loved by the god Apollo. Hyacinthus is known for his extraordinary beauty, and he becomes Apollo’s close companion. One day, while they are playing a game of discus, Apollo throws the disc with great strength. Hyacinthus runs to catch it, but it strikes him on the head, causing a fatal wound.

Apollo is heartbroken by the loss of his dear friend and, unable to save him, transforms Hyacinthus’ blood into a flower to immortalise him.

“I was particularly drawn to Ovid's vivid portrayal of Hyacinthus and Apollo playing with a discus - a scene filled with physicality and the performance of masculinity. Ovid’s descriptions of their oiled bodies, glistening in the sun, became a focal point for my exploration of male sexuality in this work.” (Eleanor Johnson)

In ‘ Slick with Olive Oil’ Johnson explores the transformation of flesh into flowers, specifically focusing on the hyacinth grape flower. The choice of flora represents a poetic interpretation of the transformation - a way for Johnson to connect the physicality of the human body with the delicate beauty of nature. The hands reaching up at the top of the painting are intended to mirror the way flowers stretch toward the sun, symbolising the aspiration and yearning inherent in both human and plant life.

The narrative of Echo and Narcissus examines the interplay between beauty and self-obsession through the tragic fate of Narcissus, a beautiful youth who becomes entranced by his own reflection in a pool of water. This intense self-admiration renders him oblivious to the affections of Echo, a nymph who, afflicted by a curse, can only repeat the last words of the person she speaks to.
Rejected and heartbroken, Echo retreats into solitude, fading away until only her voice remains. Meanwhile, Narcissus, realising too late that he cannot possess his own reflection, becomes consumed by despair. He eventually dies by the water's edge, and in his place, a beautiful flower blooms. The myth highlights themes of unrequited love, self-obsession, and the pain that can arise from neglecting genuine affection.

Johnson also ponders upon contemporary society and the concept of ‘narcissism,’ often encouraged by social media culture. The central figure almost appears as two intertwined bodies, suggesting the idea of self-love and admiration. Returning to a more literal translation of Ovid’s myth, Johnson’s composition is horizontally split in two sections, one echoing the other as if reflected in a body of water. Using such an expedient as a jumping off point for her artistic enquiry, Johnson uses the distortion of the body to address Narcissus’ own distortion in his perception of reality, fooled to believe he is gazing at an actual body instead of his reflection.

The tale of Io and Jove revolves around the beautiful priestess Io, who falls victim to the attention of Jove. When Jove falls in love with Io, he turns her into a white heifer, to hide his infatuation from his wife Hera. But Hera is not deceived, and demands the heifer as a gift before assigning the hundred-eyed giant, Argus, to guard over her. To rescue Io, Jove sends Mercury to kill Argus. Hera, in anger, sends a gadfly to torment Io, forcing her to wander the earth in cow form. When Io finally comes to rest in Egypt, Jove returns her to human form.
After the death of Argus, Hera used his eyes to decorate her peacock’s feathers in gratitude. Johnson recreates this imagery in both works, featuring peacock feathers that at times appear as watchful eyes. The artist captures flesh in transformation, a body caught in flux.

Despite the dark underlying theme of the myth, Johnson’s focus is far from illustrating the moment of violence that lies at the heart of the tale. Instead, the artist is captivated by the fog that Jove summoned to conceal his assault on Io from his wife. “The fog’s obscuring nature intrigues me - how it transforms the familiar into something uncertain.”

Pyramus and Thisbe, two young lovers in Babylon, are separated by a wall because their families disapprove of their relationship. Despite this, they communicate secretly through a crack in the wall and eventually decide to meet in person. They plan to rendezvous at night near a mulberry tree by Ninus’ tomb.

Thisbe arrives first but flees when she encounters a lioness with a bloody mouth, dropping her veil in haste. The lioness tears the veil apart, staining it with blood. When Pyramus arrives and finds the bloodied veil, he mistakenly believes that Thisbe has been killed. Heartbroken, he takes his own life with a sword. Thisbe later returns, finds Pyramus dying, and kills herself with the same sword.

The gods, moved by their tragedy, turn the white berries of the mulberry tree red, symbolising their blood and eternal love. In these paintings, Johnson explores the theme of intimacy through the lens of this tragic tale. The mulberry fruit itself has symbolic meaning for the artist, concealing autobiographical notes: “I have personal memories of picking mulberries with my Dad - their overwhelming sweetness and the way their juice stains your hands with a substance that resembles blood. This imagery, both personal and symbolic, plays a significant role in these works.” (Eleanor Johnson)

The myth of Pan and Syrinx illustrates themes of unrequited love and transformation. Pan, the god of the wilderness, becomes infatuated with Syrinx, a nymph who cherishes her independence. To escape his persistent advances, Syrinx flees to the banks of a river, where she implores the river nymphs for assistance. In a desperate bid to evade Pan, she is transformed into a cluster of reeds.

Upon losing Syrinx and discovering the reeds, Pan is struck by their melancholic sound when the wind passes through them. In his grief and longing, he fashions the pan flute (or syrinx) from the very reeds that conceal her. This instrument serves as a poignant reminder of his unfulfilled desire and the bittersweet nature of love. The narrative ultimately underscores the complexities of desire, the inevitability of transformation, and the profound impact of loss.

Johnson, uses her painting to investigate the theme of Pan’s sexual virility as a mythological figure, subtly showcasing an orgiastic quality in her composition. The figures’ limbs in ‘Flesh Smudge’ sprout blue-grey hairs, while some display goat-like features such as hooves and horns, echoing Pan’s own animal appearance. This blend of human and animal forms creates a sense of transformation and primal energy, reflecting Pan’s wild and untamed nature.

The myth of Pan and Syrinx illustrates themes of unrequited love and transformation. Pan, the god of the wilderness, becomes infatuated with Syrinx, a nymph who cherishes her independence. To escape his persistent advances, Syrinx flees to the banks of a river, where she implores the river nymphs for assistance. In a desperate bid to evade Pan, she is transformed into a cluster of reeds.

Upon losing Syrinx and discovering the reeds, Pan is struck by their melancholic sound when the wind passes through them. In his grief and longing, he fashions the pan flute (or syrinx) from the very reeds that conceal her. This instrument serves as a poignant reminder of his unfulfilled desire and the bittersweet nature of love. The narrative ultimately underscores the complexities of desire, the inevitability of transformation, and the profound impact of loss.

Baker’s works reveal a focus on the natural landscape, addressing the idea of transformation from human body into vegetation. More specifically, Baker looks at the significance embedded in the shift in perception of nature itself: Syrinx, being a huntress, finds comfort and solitude in the forest until it becomes the setting of her escape from Pan; what once offered protection has now been disrupted through the imposition of power. What is it to continually transform yourself at the hands of malevolence? Asks Baker.

Pan and Syrinx by Workshop of Jan Brueghel the Younger

The myth of Pan and Syrinx illustrates themes of unrequited love and transformation. Pan, the god of the wilderness, becomes infatuated with Syrinx, a nymph who cherishes her independence. To escape his persistent advances, Syrinx flees to the banks of a river, where she implores the river nymphs for assistance. In a desperate bid to evade Pan, she is transformed into a cluster of reeds.

Upon losing Syrinx and discovering the reeds, Pan is struck by their melancholic sound when the wind passes through them. In his grief and longing, he fashions the pan flute (or syrinx) from the very reeds that conceal her. This instrument serves as a poignant reminder of his unfulfilled desire and the bittersweet nature of love. The narrative ultimately underscores the complexities of desire, the inevitability of transformation, and the profound impact of loss.

Baker’s works reveal a focus on the natural landscape, addressing the idea of transformation from human body into vegetation. More specifically, Baker looks at the significance embedded in the shift in perception of nature itself: Syrinx, being a huntress, finds comfort and solitude in the forest until it becomes the setting of her escape from Pan; what once offered protection has now been disrupted through the imposition of power. What is it to continually transform yourself at the hands of malevolence? Asks Baker.

Flora and Zephyr by William Adolphe Bouguereau (1875)

The myth of Alpheus and Arethusa tells the story of a river god’s pursuit of a nymph and her transformation to escape him. Arethusa is a nymph and a follower of the goddess Artemis, who values her independence and purity. One day, while bathing in a river in Greece, Arethusa unknowingly enters the domain of Alpheus, the river god. He becomes infatuated with her and begins to pursue her. Terrified, Arethusa flees, but Alpheus relentlessly chases her.

In desperation, Arethusa prays to Artemis for help. The goddess hears her plea and envelops Arethusa in a thick mist to hide her. However, when this fails to stop Alpheus, Artemis transforms Arethusa into a spring of water to escape his grasp. Arethusa’s waters flow underground, eventually resurfacing on the island of Ortygia in Sicily.

In these paintings Baker addresses the symbolic meaning of water as constant change and movement, mirroring the ever-shifting nature of the world. Like water, everything is in constant motion, never static. Water is also often seen as cleansing, washing away impurities, both literally and symbolically. It has the power to regenerate or renew, giving life a fresh start.

Flora and Zephyr by William Adolphe Bouguereau

The myth of Pythagoras, as found in Ovid’s Metamorphoses, presents him not just as a mathematician and philosopher, but as a mystical figure with profound beliefs about the nature of the universe, especially in relation to transformation and reincarnation.

Pythagoras preached about the constant flux of the universe, where everything is in a state of change. He argued that nothing remains the same. The seasons change, the elements mix and transform, and even the human body undergoes growth and decay. He believed that everything in the universe is part of a grand cycle of transformation.

In these paintings, Baker referred back to Rubens and Snyders’ ‘Pythagoras Advocating Vegetarianism’ (c.1628-30), where Snyders worked on the vegetation and fruit while Rubens depicted the figures afterwards.

Once again Baker uses these references as inspiration to explore the cyclical nature of time: “I wanted the painting to oscillate between form and space, bringing it back to the central idea in the extract of the poem “what was is gone, what is, is not what was”. I think oftentimes we accept the present as something temporary, as a moment to bypass in order to attain something better, that we allow things to slip past us, unnoticed and unenjoyed. We often sit in that space between anticipating the future or longing for moments in the past, overlooking the moment we are in.” (Megan Baker)

Pythagoras Advocating Vegetarianism by Rubens

The narrative of Echo and Narcissus examines the interplay between beauty and self-obsession through the tragic fate of Narcissus, a beautiful youth who becomes entranced by his own reflection in a pool of water. This intense self-admiration renders him oblivious to the affections of Echo, a nymph who, afflicted by a curse, can only repeat the last words of the person she speaks to.
Rejected and heartbroken, Echo retreats into solitude, fading away until only her voice remains. Meanwhile, Narcissus, realising too late that he cannot possess his own reflection, becomes consumed by despair. He eventually dies by the water's edge, and in his place, a beautiful flower blooms. The myth highlights themes of unrequited love, self-obsession, and the pain that can arise from neglecting genuine affection.
Baker brings this story into the contemporary realm, reflecting on how the modern world is encountered. As if through the shallow pool of narcissus’s own reflection, this myopic lens which echoes our surroundings back to us. “We have isolated ourselves to our own reflection. Social media has just become this echo chamber where algorithmic patterns repeat back to us the images and words and ideas we seek out. We are submerged into this kind of digital mirror.” (Megan Baker)

Narcissus Gazing at His Reflection and Cupid Shooting an Arrow by Nicolas Poussin

The myth of Pan and Syrinx illustrates themes of unrequited love and transformation. Pan, the god of the wilderness, becomes infatuated with Syrinx, a nymph who cherishes her independence. To escape his persistent advances, Syrinx flees to the banks of a river, where she implores the river nymphs for assistance. In a desperate bid to evade Pan, she is transformed into a cluster of reeds.

Upon losing Syrinx and discovering the reeds, Pan is struck by their melancholic sound when the wind passes through them. In his grief and longing, he fashions the pan flute (or syrinx) from the very reeds that conceal her. This instrument serves as a poignant reminder of his unfulfilled desire and the bittersweet nature of love. The narrative ultimately underscores the complexities of desire, the inevitability of transformation, and the profound impact of loss.

Baker’s works reveal a focus on the natural landscape, addressing the idea of transformation from human body into vegetation. More specifically, Baker looks at the significance embedded in the shift in perception of nature itself: Syrinx, being a huntress, finds comfort and solitude in the forest until it becomes the setting of her escape from Pan; what once offered protection has now been disrupted through the imposition of power. What is it to continually transform yourself at the hands of malevolence? Asks Baker.

Pan and Syrinx by Workshop of Jan Brueghel the Younger

The Death of Adonis tells the story of a handsome young man loved by the goddess, Venus. Despite Venus’ warnings to avoid dangerous animals while hunting, Adonis is eager to pursue large and fierce creatures. One day, while hunting in the woods, Adonis wounds a wild boar. The enraged animal charges at him, goring him in the thigh with its tusks. Severely injured, Adonis dies in Venus’ arms as she rushes to him after hearing his cries.

To honour him, Venus transforms Adonis’ blood into an anemone, a delicate red flower that blooms briefly each year, symbolising the fleeting nature of life and love. Baker explores Adonis’ role as the god of vegetation and fertility, focusing on how his death and resurrection represent the decay of nature through the winter and its restoration in the spring. Adonis comes to symbolise the passing of the seasons. “Within nature there is a continual presence yet it is perpetually mutable. I aim to mirror these constant fluctuations into a prolonged movement through paint.” (Megan Baker)

Death of Adonis by Taraval Hugues

The myth of Alpheus and Arethusa tells the story of a river god’s pursuit of a nymph and her transformation to escape him. Arethusa is a nymph and a follower of the goddess Artemis, who values her independence and purity. One day, while bathing in a river in Greece, Arethusa unknowingly enters the domain of Alpheus, the river god. He becomes infatuated with her and begins to pursue her. Terrified, Arethusa flees, but Alpheus relentlessly chases her.

In desperation, Arethusa prays to Artemis for help. The goddess hears her plea and envelops Arethusa in a thick mist to hide her. However, when this fails to stop Alpheus, Artemis transforms Arethusa into a spring of water to escape his grasp. Arethusa’s waters flow underground, eventually resurfacing on the island of Ortygia in Sicily.

In these paintings Baker addresses the symbolic meaning of water as constant change and movement, mirroring the ever-shifting nature of the world. Like water, everything is in constant motion, never static. Water is also often seen as cleansing, washing away impurities, both literally and symbolically. It has the power to regenerate or renew, giving life a fresh start.

Alphe Chasing Arethusa by Antoine Coypel

The narrative of Echo and Narcissus examines the interplay between beauty and self-obsession through the tragic fate of Narcissus, a beautiful youth who becomes entranced by his own reflection in a pool of water. This intense self-admiration renders him oblivious to the affections of Echo, a nymph who, afflicted by a curse, can only repeat the last words of the person she speaks to.
Rejected and heartbroken, Echo retreats into solitude, fading away until only her voice remains. Meanwhile, Narcissus, realising too late that he cannot possess his own reflection, becomes consumed by despair. He eventually dies by the water's edge, and in his place, a beautiful flower blooms. The myth highlights themes of unrequited love, self-obsession, and the pain that can arise from neglecting genuine affection.
Baker brings this story into the contemporary realm, reflecting on how the modern world is encountered. As if through the shallow pool of narcissus’s own reflection, this myopic lens which echoes our surroundings back to us. “We have isolated ourselves to our own reflection. Social media has just become this echo chamber where algorithmic patterns repeat back to us the images and words and ideas we seek out. We are submerged into this kind of digital mirror.” (Megan Baker)

Narcissus by Johann Heinrich Tischbein