Hurl’s work is of its nature political, drawing her influences from feminist artists and activists in the 1960s, 70s and 80s. This work was originally shown in 1989 as part of Hurl’s solo exhibition at the Temple Bar Gallery and Studios, Dublin, titled The Living Room Myths and Legends. The works shown there responded to the ongoing abuse of women within Irish society, in particular referring to the Kerry Babies Trial and the 8th amendment of the constitution in 1983. The exhibition highlighted the ongoing involvement of the Church in determining the lives of women in Irish society. Study for The Kerry Babies Trial, 1984, shows a row of clerical figures, their faces swathes of paint. They brood in an anonymous lurk of powerful menace. The obscuring of male faces is a technique which is apparent in other works by Hurl, depicting the anonymity and power displayed by Church and Man in deciding their fate. Hurl’s recent practice has developed into performance and film in collaboration with Therry Rudin producing an on-going body of work on the subject of folk narrative. Her practice is also currently exploring issues of isolation and loneliness, often associated with ageing.