Pippa Young’s work explores the complexities of contemporary life through a delicate balance of the real and the imagined. Fragmented Truths is a collection of large portrait-style oils on canvas to small, intricate works on paper where her distinct realist figures serve as metaphors capturing the complexities of modern life.  Young seeks to create a space for contemplation within her paintings, inviting viewers to form their own connections and interpretations. Her goal is "to convey the transience and vulnerability of the human condition, while reflecting the surreal and fragmented nature of the world around us."

Curated to reflect Young's thematic interests, this collection highlights the precision and layered techniques behind her process, drawing inspiration from Renaissance painting. It also references early Flemish iconography, reimagined within decontextualized, blank spaces that allow the figures to remain both timeless and open to questioning.  Rejecting the label of ‘woman artist,’ Young prefers to be seen simply as an artist. She wants her figures to be viewed as human first, free from gendered distractions. While acknowledging the influence of the male gaze and historical representations of women, her work invites ambiguous, contemplative interpretations.

Young’s paintings often feature the human figure, typically solitary, but her intention is not portraiture. The figures are not real people but representations of the human condition. By collaging mismatched body parts and incorporating non-traditional elements, she subverts traditional realism. Drawing on Renaissance and early Flemish influences, particularly artists like Jan van Eyck and Hans Memling, Young uses symbolism and small details to explore everyday human experiences. In an image-saturated culture, her figurative work offers a contemplative pause from the noise of digital media. 

Placing her figures against blank backdrops to remove historical or social context, Young focuses the viewer's attention on psychological depth rather than surface characteristics. She often avoids details like hair to prevent the figure from being anchored to a particular time or place. While she has experimented with different backgrounds, Young prefers to avoid overt narratives. She explains, “I like to weave in ambiguities which might make the viewer look at things from a different perspective: to be quietly subversive from within the castle walls, than to shout loudly outside them”. Her aim is not to tell a clear story, but to provoke questions and encourage deeper contemplation rather than passive observation.