Working effortlessly across collage, photography, sculpture and film, the British-American artist Penny Slinger is largely situated within the outlines of Feminist Surrealism where mysticism, eroticism, and sexual repression are mined from the while-hot cauldron of the subconscious. Although the artist’s “50%-the-Visible-Woman” photomontage series owes a large debt to Max Ernst’s legendary collage masterpiece “Une semaine de Bonté”, it has firm footing in present-day feminism as it relates to reproductive rights, gender equality, body anxiety, and violence against women. Like her Modern predecessors, Singer mines the dark hierarchies of the inner self through an acerbic fusion between dark humour and stark violence. A series of conceptual self-portraits entitled “Bride’s Cake” morphs the traditional wedding cake with erotic pop-out-confections and simultaneously takes on the institution of marriage and food porn as tools of patriarchal oppression. It is a stark reminder that the daily spectre of violent erotic fantasies and other oppressive savageries, amplified through social media and sanctified by commerce and state, are first and foremost missives from the id. As such, Singer joins the distinguished company of brilliant women Surrealist artists like Leonor Fini, Dorothea Tanning, Lola Alvarez Bravo, Remedios Varo, and Leonara Carrington who recognize the omnipotence of the subconscious in the construction of institutions that inhibit freedoms. At Fortnight Institute through March 17.