Kushana Bush considers herself a contemporary storyteller. She paints highly detailed multiple-figure compositions in which enigmatic and often violent narratives unfold. The critic David Eggleton has described her style as ‘eccentric historicism’. Bush draws on various historical and stylistic sources, from medieval Christian art to Indo- Persian miniatures and Japanese woodblock prints. In each scene the joyous colour and decorative quality is undercut by a pervasive sense of threat and claustrophobia that derives from the crowded compositions and the actions and gestures of the figures – in this case, a staged ritual in which white birds are sacrificed.