In Neverland Michal embodies the Greek mythological figure Sisyphus in a hyper-localised interpretation of the never ending task. Dressed as the ubiquitous 1950s housewife, this eternal return fuses the subject and concerns of the artist, each commenting on the endless struggle of women to navigate the minefield of identity in an increasingly impossible and sometimes hostile society, as well again critiquing the postmodern political situation is mired in symbolic gesture of riddance of ignorance
