Edwina Sandys has an immense reputation as artist and feminist, and has been working for more than forty years in the arenas of sculpture, painting, collage, drawing and printing. Sandys’ art is at once, playful, witty, and profound—her artwork is also deeply poetic and constantly challenging convention. The artistic appeal of Edwina Sandys lies in her diverse subject matter. From the sacred to the secular, to the most essential questions about politics and society, she has tackled grand ideas with panache, combining the lighthearted and the profound, at once whimsical and mind provoking. Hands are a reoccurring motif in her work, as is a constant return to the diametrical opposites of substance and void. In Adam and Eve, for example, hands are cut out to cover “shameful” body parts, yet the hands don’t really exist; instead they are void spaces on silhouettes. Sandys’ artistic palette is also refreshingly full of vibrant hues such as cherry-red and apple-green. Her clearly recognizable style uses positive and negative images to powerful effect. Seminal works include The Marriage Bed and Christa, the first representation of Christ as a woman created in 1975 as a bronze statue. After being on display in numerous churches, Christa was installed at Easter 1984 in New York’s Cathedral of St. John the Divine. Sandys is also the granddaughter of Sir Winston Churchill. The book is rounded out with wonderful photographs of her life that illustrate her famous ancestry. This book is the first and only collection of her visionary and artistic endeavors spanning over four decades.