No doubt artist Brien O’Rourke’s love of T. S. Eliot’s poetry inspired the titles for some of his latest oil paintings, while his fascination with ancient Green Men and women’s faces and figures influenced its subject matter. Brien is showing a dozen works that highlight the legends of the Green Man, at The Stone Gallery, until October 24. They are powerful pictures that make much of the mystery of transfiguration and rebirth in a thought- provoking and sometimes slightly erotic way.

In Winter; the end is the beginning (right) Brien uses a backdrop of snow and a winter moon to set a woodland scene which exposes symbols of rebirth dormant and hidden in the dark earth. Look carefully and you will see a curled foetus sleeping within a womb-like nest, winged sycamore seeds waiting to germinate, hibernating insects with glistening green bodies and a phallic symbol among the roots of a tree. While it suggests a dark time when nothing stirs, it also signifies Mother Nature’s patient wait and protective hand that suspends growth until life can begin all over again.

Evening Calm is less easy to read. Does it depict the Crucifixion? Is that body with arms outstretched, hanging within a tree the Christ figure? A hint of the erotic weaves its way into Metamorphosis, as branch-like fingers hold tight to a woman’s naked form emerging from a tree. Once again, Brien has used water as the backdrop. Flowing green hair suggests her bond with nature.

Gaea, Mother Earth, Venus? is perhaps the most abstract of the works. It appears to include a curled foetus and suggestions of a woman’s body, but what is in the right hand corner? Is it an outstretched hand trying to communicate with the figure? And is it Gaea, Mother Earth or Venus who carries the child?

Brien O’Rourke’s latest works add a fascinating modern twist to a legend that is enjoying a resurgence of popularity.