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85 1955 The human figure becomes less important as a subject while the evidence of the presence of people is given greater emphasis (work tools, chance marks, and found objects). Increasingly abstract imagery. The inclusion of sand, dust, ash and other ingredients in the pigment creates thick impastoes and fosters a richer, more varied surface. The use of stencils and templates create textured patterns across the picture plane. 1956-69 Teaches part-time at Chelsea School of Art. 1960 Important solo exhibition at the Whitechapel curated by Bryan Robertson. Exhibits 154 paintings and 33 drawings. 1961 Trips to Paris to Eileen Gray and visits to the Tàpies exhibition. Leaves off from oil painting for a while and returns to print-making. Executes a 5 metre long mural for the Schweppes factory in Sidcup (destroyed). Integration of new materials (collage, glues, found objects) into painting. A new willingness to improvise and capitalize on the 'happy accident' during the working process. A fresh approach to subject-matter involving the use of dislocated pictorial motifs, fewer recognizable visual clues and unexplained, enigmatic associations of objects. Out of the factory and into the urban environment. Creates reliefs that incorporate found objects. Few are exhibited. 1964 Moves to a new studio in Moore Park Road, Fulham. 1966-97 Teaches part-time at Wimbledon School of Art. Frequent visits to Paris and renewed closeness to Eileen Gray. Many discussions concerning materials, techniques and studio practice. Solo exhibitions with the New Arts Centre extend clientele, patrons and opportunities. 1968 Turns down an OBE. Summer tutor at the British School in Rome. 1972 Solo exhibition at Graves Art Gallery, Sheffield. 1972-1982 Produces a series of 'gate' paintings with symbolic and, perhaps, metaphysical significance. Increased use of grids in compositions as well as new materials, (formica, cellulose spray paint and mixed media). 1976 Solo exhibitions: Serpentine Gallery, London and the Scottish National Gallery of Modern Art, Edinburgh. 1977 Trip to New York and visits to the Guggenheim, the Whitney and MoMA. 1979 Turns down a CBE. Assists in curating the Eileen Gray exhibition at MoMA, New York and Victoria and Albert Museum, London. 1970s Greater clarity, sense of air and space in the work. Moves towards minimalist subjects. 1980s-1990s Much teaching: visiting tutor at Winchester, St Albans, Bournemouth, Royal College and the Slade schools of art. Insistence of keeping painting prices to a minimum. A brighter palette develops alongside the use of acrylic paint. A er partial blindness, a cataract operation restores her sight. Inherits Eileen Gray's copyright and estate. 1982 Solo exhibition at the Fitzwilliam Museum, Cambridge and the Warwick Arts Trust, London. 1983 Moves to Sherbrooke Road studio, remaining there until her death. 1988- Association with Annely Juda Gallery (paintings) and Flowers East (graphics). New interest in multi-coloured found objects. Diagnosed with cancer. New inspiration in seascapes a er visits to Portsmouth. 1996 Solo exhibition at the Camden Arts Centre, London 1999 Awarded Jerwood Painting Prize in recognition of a lifetime of painting. Solo exhibition at Kettle's Yard, Cambridge. Dies 26 December in London. Photograph by Facundo Bo