Using Meghan Markle and the media speculation surrounding her as inspiration for this piece, the artist is looking at what marriage means to successful women today and the future that lies ahead for Markle under intense public scrutiny. The figure is painted in a frail and loose fashion, highlighting the fragility and naivety of her situation. Whilst marriage was once an essential union for women's financial and social security, is this institution now an outdated and unnecessary ideal?

Laura Harris' work has always focused on the realities of the city. An earlier cycle of paintings looked particularly at her life in Brixton. These expressionist canvases fell into the category of descriptive narrative. Each work recounted an incident or event that the artist had either witnessed or more often than not, actually experienced; in that sense making them autobiographical. Recording and interpreting life in its raw and unrefined state: the post-coital encounter in the bedroom, the heady euphoria of the party; the artist is interested as much in the situation itself, as in the choreography of that situation. The artist is nostalgic for an age before Facebook, Instagram and Snapchat - a time when technology played a lesser role in our social correspondence. At art school, studies of the German expressionist artists such as Paula Modersohn Becker and Egon Schiele informed her earlier work. More recently, British artists Stella Vine’s bright painterly works on celebrity and Tracey Emin’s honest self-examinations, especially in her drawings, are key influences. Laura Harris trained at Wimbledon School of Art and completed a BA in Fine Art at the University of the West of England in 2001. She completed an MSc in Management with Creative Industries at the University of London in 2013.