In contrast, a pink, red and orange palette conveys the strong maternal bond between the faceless figures of his Mother and Child, while the thick black lines and semi-transparent colours are reminiscent of stained glass. Both his use of the Madonna and Child motif and the stark image of a robed Christ displaying stigmata - crucifixion wounds from the nail in his hand - painted the year before his move to London, relate to Ribeiro’s long standing fascination with religious imagery and its enduring impact on his work.