Lot Essay:James Francis Gill’s Political Prisoner series is a powerful and haunting meditation on the human condition, grappling with themes of censorship, social control, and inherited trauma. First conceived in the 1960s during a time of global upheaval, Gill used his art to confront what he saw as a dangerous trajectory- one in which freedom of expression was under threat, and individuals, even before birth, were bound by invisible systems of control. Central to the series is the recurring image of a pregnant woman rendered in silhouette: a potent symbol of both hope and entrapment.For Gill, the unborn child becomes the ultimate political prisoner- innocent, powerless, and born into a world shaped by decisions and mistakes not of their making. "Every child is a prisoner of the system," he once remarked, pointing to the unchosen burdens passed down from one generation to the next. The mother’s body becomes both a vessel of life and a metaphor for constraint, suggesting that even the promise of a new beginning is shadowed by the structures of the past.Revisited throughout Gill’s six-decade career, Political Prisoner stands as a cornerstone of his oeuvre, both deeply personal and politically resonant. In these works, Gill merges the visual language of Pop Art with the emotional urgency of protest, reminding viewers that freedom, far from being guaranteed, must be questioned, protected, and reimagined with each new generation.