paint Professor Dorothy Hodgkin in 1985. The portrait features Hodgkin at a desk with four hands, all engaged in different tasks. Her wider body of work is held in many public collections including the British Museum, Tate Collection, National Gallery, Scottish National Gallery of Modern Art and the Victoria and Albert Museum. Hambling is known for painting the dead, including portraits of her parents and Henrietta Moraes in their coffins, saying that she "found it rather therapeutic to go on painting them after death". George Melly was the subject of a series that documented his approach to death, and said she would go down in history as "Maggi 'coffin' Hambling". Some of her recent work is spurred through anger—for the destruction of the planet, about politics, for social issues. She has also said that "Making a work of art is making a work of love." In 2013, she exhibited at Snape during the Aldeburgh Festival, and a solo exhibition was held at the Hermitage, St Petersburg. Hambling is a patron of Paintings in Hospitals, a charity that provides art for health and social care in England, Wales and Northern Ireland. Works of public sculpture Memorial to Oscar Wilde Hambling's 1998 outdoor sculpture at Charing Cross in central London as a memorial to dramatist Oscar Wilde, the first public monument to him outside his native Ireland. Derek Jarman first suggested a memorial in the 1980s and a committee chaired by Sir Jeremy Isaacs including actors Dame Judi Dench and Sir Ian McKellen and the poet Seamus Heaney, raised the money and commissioned Hambling. Her design features Wilde rising from a polished green granite coffin holding a cigarette. The coffin is intended to serve as a public bench rather than the more conventional stone plinth, hence Hambling's name for the memorial A Conversation with Oscar Wilde, as visitors sit next to the writer's effigy. The work bears a quotation from Lady Windermere's Fan: "We are all in the gutter but some of us are looking at the stars." Some critics were severe in their criticism of the work, but supporters said it was well-loved by the public. The chief art critic of The Independent wrote that ultimately the sculpture was not about Wilde or the viewing public, but a reflection of Hambling herself. The cigarette was repeatedly removed, "the most frequent act of vandalism/veneration to a public statue in London", and is