Images and iconography in funerary contexts, and the ubiquity of her Phrygian name Matar (“Mother”), suggest that she was a mediator between the “boundaries of the known and unknown”: the civilized and the wild, the worlds of the living and the dead. Her association with hawks, lions, and the stone of the mountainous landscape of the Anatolian wilderness, seem to characterize her as mother of the land in its untrammeled natural state, with power to rule, moderate or soften its latent ferocity, and to control its potential threats to a settled, civilized life.

The White Goddess, 2019, 210 x 560cm, egg tempera and acrylics on canvas
Draft, The White Goddess (Photoshop from previous paintings) 2018-19

preliminary work for The White Goddes, 2018, 160 x 400 each
Detail -White Goddess, work in prgress, egg tempera on canvas