With The Bloodbathers, Janice McNab introduces a new body of paintings created from images of ice cream. The artist has modelled ice cream figures and then painted from the photographic documentation of these as they melt away. Such kitsch subject matter sits uneasily with the artist’s classical painting techniques and her knowing nods to art of the past: the shadow of a familiar Renaissance portrait in Soldieress, or a famed Spanish court painting in Bloodbathers. This dissonance is a formal approach that runs through all McNab’s work. Tanks, a series of images of health spa flotation tanks, expensive toys of the relaxation business, were painted in a way that enhanced only their potential for claustrophobia and anxiety. A similar approach defined The Chair Paintings, a series depicting discarded airline seats, and created shortly after 9/11.