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Her serie 'Magdalena's' features two groups of works: one of saints, one of sinners. In both, Claire looks to instances of inspirational female figures from art history and rejuvenates them with references to contemporary society. Her sinners are based on medieval images of Mary Magdalena, the ostracised female used by the church to represent the sinful nature of women, who then became covered in hair as a hermit. Claire’s Magdalena's trace a connection between this and current positions on body hair in feminism. In both groups, Claire revives ancient images of strong women, the unjustly condemned and the divinely revered, and articulates them as 21st century females, figures of power and independence. The figures of this series by Claire Partington are similar in scale to 16th century German carvings of Magdalene figures.

The Goose Girl takes it’s title from a very convoluted Brothers Grimm fairy story in which the true identity of a princess is revealed through her long golden hair by a prince who secretly watches her comb her hair...

“On the goose meadow, Conrad watches the princess comb her beautiful hair and he becomes greedy to pluck one or two of her golden locks. But the goose girl sees this and says a charm: "Blow wind, blow, I say, take Conrad's hat away. Do not let him come back today until my hair is combed today."