With its fragment of a tiled roof, figures perched on balcony and a deck-like structure, and the large tree, Midnight combines urban and natural imagery. To Sarah Buckner the pattern created by the tiles suggest a kind of network with a sense of constant change and uncertainties. A condition resonating with the events of 2020, as well as with the sense of rootlessness experienced by the protagonist of Virginia Woolf's novel Orlando, who lives several life-times, inhabiting different houses, social roles and cultural settings.

Anima draws on mythological representations of the feminine. As if originating from the crouching woman's lap, the small child with its trumpet recalls the traditional depiction of Cupid, or generally cherubs and putti. In this context then, the sickle-shaped silhouette in the female figure's outstretched arm invokes Psyche's use of that tool but also the moon's crescent. The title draws on the Carl Jung's theory of analytic psychology that stipulates the existence of archetypes, among them he described the animus as the unconscious masculine side of a woman, and the anima as the unconscious feminine side of a man, each transcending the personal psyche.