Yoko I-XXXII, focuses on Don Brown’s series of sculptures of his wife Yoko, which have been ongoing throughout his career. Don Brown’s art explores questions of representational perfection. His sculptural vocabulary harks back to classical antiquity and the elegance and idealism of neoclassical marbles such as Canova’s The Three Graces (1814-17), while also invoking modernist realism as instanced by Degas’ La Petite Danseuse de Quatorze Ans (1881). In Brown’s distinctive take on classical sculpture, the place of an idealised heroine is taken by the real-life figure of the artist’s wife in a casual pose. Yoko becomes a conflation of the generic and the individual.