At its core, Games of Faith is about the precarious balance between containment and release. A looping coil steadies yet constricts a stem, which supports a cracked red pod - an image that evokes fragility, birth, and generational continuity. The title itself underscores the paradox that faith requires surrender, even as it feels like a game of risk and chance. Formally, the painting recalls Giorgio de Chirico’s dreamlike stages in its stark geometry and isolated forms, while its ambiguous, bodily shapes place it in dialogue with Surrealist traditions.

In discussing this work (and the show as a whole), Ginny noted that what excites her about painting is the ability to make impossible structures exist, things that could never stand in three dimensions. That suspension of disbelief, unique to painting, allows her to push the tension between the possible and the impossible in playful, psychologically charged ways.