In Bonafini’s Earth’s Bowels (2022), a single-path labyrinth also doubles as an intestine or a brain, delicate fleshy tissue gently curving, ever winding and coiling upon itself. Painted with liquid washes of gouache and watercolour pencils, jewel-like colours reminiscent of Hilma af Klint – deep purples and blues rubbing up against pastels of yellow, pink and peach – swim as myriad subdivisions. Camouflaged within this softness are two bodies separated across two panels. A flexed foot, the sweep of a thigh, a face in profile. These people are at once isolated within the labyrinth whilst also being the labyrinth, imprisoned by the very lines that too express their existence. A space of confined interiority is suggested; thought patters impeding our bodies, trapped in a stream of overthinking.
