Two large wall-mounted reliefs drawing loosely from the Parthenon metopes in the British Museum, particularly scenes of centaurs fighting Lapiths. Upritchard deliberately confuses sculptural types—these are not square metopes, but triangular like pediments. The figures are strange, hybrid bodies—part human, part horse, blurred and speculative. Rather than classical clarity, the reliefs offer lumpy, unstable forms that evoke evolution, memory, humour, and misrecognition.

The work references the ongoing controversy over the Parthenon Sculptures, their removal by Lord Elgin, and calls for their repatriation.

It draws on Octavia E. Butler’s sci-fi novel Clay’s Ark, where human bodies are mutated through alien infection into hybrid, four-legged creatures.

Upritchard’s centaurs are comic, physical, and strange—neither ancient nor futuristic, but somewhere in between.

The works reflect her position as a Pākehā New Zealander living in London—thinking through history from a place of cultural displacement.

The name Wetwang Slack refers to a real Iron Age archaeological site in East Yorkshire, UK, known for a chariot burial and associated with early British history. The site’s name adds another layer of historical reference, suggesting deep time, burial, and lost narratives. At the same time, it’s a comically odd, evocative place name—Wetwang Slack sounds surreal, bodily, and out of place. The title enhances the work’s themes of disorientation, cultural layering, and mythic strangeness.