"The moment of death is as slight as all those other moments, just one more electrical impulse fading. Yet, that one moment was the difference between all and nothingness, between hope and hopelessness...Time now is not measured by change, for the dead remain fixed and unchanging. Is this the meaning of eternity?" These are poignant words about grief and a perspicacious question to ponder. But the writer, Mary Rose O'Neill, is also an artist and when she deserts words for visual expression she adds another dimension to communication that allows her to probe in a more evocative way the profundity of grief and existence. Lost at Sea is a twelve panel composition, which emanates a sense of a haunting blueness, and depicts items a mother would like to see accompany a recently departed youth on his journey into the ever after-toys, eating utensils, a cup and saucer, sweets, a map. Egyptian mythology is captured here with expressive beauty and serves, one suspects, as a cathartic exegesis for the artist but it gives also voyeuristic solace for us, the viewers, who can now share, to some degree at least, the pain of loss.
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机译：“死亡的时刻与其他所有时刻一样微弱，只是又一次电脉冲衰减。然而，那一时刻是万物与虚无之间，希望与绝望之间的差异……现在，时间不是通过变化来衡量的，因为死者保持固定不变。这是永恒的意思吗？”这些是关于悲伤的严厉措辞，是一个需要深思的问题。但是作家玛丽·罗斯·奥尼尔（Mary Rose O'Neill）也是一位艺术家，当她放弃视觉表达的语言时，她为交流增加了另一个维度，使她能够以一种更具启发性的方式探究悲伤和生存的深渊。海上迷失》是由十二个面板组成的作品，散发着一种令人难以忘怀的忧郁感，并描绘了一位母亲在刚去世的玩具途中，想陪伴他刚去世的年轻人吃的物品，餐具，杯子和碟子，糖果，一张地图。埃及神话以富有表现力的美丽被捕捉到这里，并被一个人怀疑为艺术家的宣泄释经，但同时也为我们这些观众提供了窥视的慰藉，他们现在至少可以在某种程度上分享失去的痛苦。
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