These three large-scale paintings explore our understanding of emotion through cinematic imagery. Their compositions were arrived at through the montaging of film stills depicting corresponding atmospheres, aiming to highlight how repetition has cultivated iconography and understanding of subjective emotion. Selected stills originate from international films and backgrounds, representing both the past and present. This is important to the works as they reject homogenous representations due to the nature of emotion to transcend boundaries of culture, age, gender and era. Repetition of visual language when depicting emotive scenes in film is microcosm to broader cultural phenomenon of shared experiences. The universality of emotion allows the viewer to form a sense of personal identity with the figures in the paintings, with the subjectivity supporting the artists interest in the relationship between artwork and viewer. Playing on the collaged formation of composition, the visual language of her paintings aims to epitomise the overwhelming multiplicity of everyday life, the montage method of composition a homage to film itself. Light plays an important role as through building up thin layers of colour a greater sense of atmosphere is achieved, and it is this subsequent transcendence which brings a sense of beauty to otherwise melancholic scenes. These works form the series for the artist's degree show.