From Mona to Mayhem reimagines some of history’s most iconic artworks, replacing their familiar faces with the mischievous characters of Last of the Summer Wine. By blending masterpieces like The Mona Lisa, The Scream, and The Hay Wain with this beloved Yorkshire sitcom, the collection collapses the distance between high art and everyday life. 
 
The show resonates deeply with me. Set in the landscapes near where I live, its humour, warmth, and eccentricity feel like home. I connect with its characters - their resilience, mischief, and absurdity - and by inserting them into these revered cultural landmarks, I introduce humour, personality, and a touch of chaos into spaces usually ruled by seriousness.
 
This collection isn’t just about playful parody. It’s about celebrating ordinary people, local voices, and the joy of everyday life, while challenging the conventions of art history. From Mona to Mayhem is where Yorkshire charm meets the classics, and reverence collides with irreverence.
 
In this work, Wood’s austere composition becomes a narrative of tense domestic and romantic entanglement. Howard is visibly nervous and uneasy, while Marina gazes at him with loving attention. From the upstairs window, Pearl observes, her eyes and posture radiating frustration and anger. This love triangle introduces psychological drama into Gothic rigidity, contrasting loyalty and desire.
 
Curator’s Note: Emotional tension is structured geometrically: verticality for surveillance (Pearl), horizontality for romance (Marina and Howard), creating a visual and narrative frisson that transforms rural austerity into complex interpersonal theatre.