These two paintings, like their namesakes, are in constant dialogue with one another. They share a new, contemporary love story in the chapel, transposed by Frieberg. They dance together within the space (to Giorgio Moroder's Italo disco in the mind of the artist), King David, intoxicated by Bat Seba is compelled to dance around her. She, in turn is persuaded to move due simply to the allure of the music.

Frieberg is a risk taker, tracing her personal experience into her work, energetically transposing nature and the world around her, through beaming colours, vibrating lines, and haptic layering, allowing for unexpected encounters to transpire. The works are created, like mind maps, in which the more complex the map, the more exciting the encounter. Frieberg's works have an ever present, improvisational, poetic mood - toying with scale, rhythm and time with an ever-evolving inquisitive disposition.