In World Headquarters, Ena Swansea wittily depicts the seat of power as an order of feminine calm: a languishing fantasy of lifestyle image cum pink-phoned gossip centre. Swansea’s dark hues inject the scene with a half-serious gravitas; her idyll daydream a source of empowerment and innuendo. Within the seductive black abyss, Swansea renders an abstracted reflection as both portrait and vagina. Alluding to the sexual nature of the subconscious, Swansea emulates the workings of psychological motivation through her fluid painting style: her hurried brushwork constantly shifting in a current of flux of meandering desires.