 Rawsthorne explored the ambiguities of appearance through the theme of the double – reflections, such as those seen in the practice room mirrors, for instance.During the late 1960s and 70s, the deaths of Giacometti and Rawsthorne prompted her to refine these ideas in a set of ethereal double portraits juxtaposing living, dead and sculpted likenesses.These works returned to the "matière" relief effects of the early 1950s and exchanged ideas with Bacon and the sculptor Roy Noakes.