The wilful embracement of these more arduous aspects, coupled with Reuben’s playful and candid means of figuration produce a contrast that affirm the artist’s unique way of seeing and being in the world. The included works enable the narrative retelling of a lengthy psychotic episode, a period in which Reuben spent making art. In many ways, the severe character of that event shaped the texture of the works produced during the same period. It could then be said that the attributes of this no-longer-conscious past (indexed in some way in previous works) account for one aspect of the artist’s subjective experience. Another could be seen in his current work, which boasts a newfound sense of lucidity— a straightforwardness that strikes the viewer at first glance. 

These changes are reflected through various representational cues: biblical references to shifting faiths convey transitional mental states, idealised scenes of open spaces carry a longing for the outside world, domestic interiors speak to the quality of home life, relationships to family, and moments of solitude. 

The ultimate refrain, then: “THERE’S MADNESS IN ME AND THAT MADNESS SETS ME FREE.” Altogether, the ensemble repeats and recites and recounts. But what is this madness within, and from whence, and what is the “me” it sets free? (Sexton, 2011:6).