My investigation is concerned with the anxiety, confusion and complexity of negotiating expectations of feminine identity through the uncanny world of in-vitro-fertilisation (IVF). Through paint I have created a fairy-tale world to facilitate access to a deep, multilayered experience that transverses medical intervention, individual hopes and desires, as well as ethical implications. Specifically, I am locating this project within the assisted reproductive technologies (ART). I am particularly interested in how the cultural significance of a woman’s identity is intrinsically linked to her ability to procreate. With the onset of ART women supposedly have new freedoms, however assisted reproduction is not a liberating process. Throughout the western painting tradition there a two reoccurring depictions of women - the Madonna (the virgin) and the Magdalene (the whore). In re-focusing and reinterpreting these historical representations, I aim, through the use of characterisation and dark humour, to broaden the debate around the social and ethical implications of ART and female identity, highlighting the conflicting and puzzling nature of these issues. Within this paper I will be discussing the arguments Greta Gaard presents in Reproductive Technology, or Reproductive Justice? (2010), in addition to Catherine Mills, assessment in Futures of Reproduction, Bioethics and Biopolitics (2011) and Ann Summers’, seminal work Dammed Whores and God’s Police (1975). All of which suggest there is a myopic view around these complicated issues. They advocate the need to broaden the parameters of consultation and the contributors in the influential position of forming social policy.