This body of work explores the uneasy dialogue between human progress and the persistence of the natural world. The triptych (Reclaimed Earth) anchors the series with a sense of scale and turbulence, drawing on Turner’s paintings of industrialisation settling into the landscape and 'progress', while holding open the possibility of renewal.

“Turner’s Afterglow / No Fixed Horizon / Darkling Ground” is a triptych of large-scale abstractions that reflects on the uneasy accretion of contemporary development across the West Sussex landscape and beyond. These works use layered mark and structure to examine how building, planning and infrastructure inscribe themselves across land.

Formally, the three paintings trade between rectilinear, engineered gestures and flowing, organic passages: a scaffolding of lines and bands is repeatedly threaded through luminous, vegetal sweeps. The result is a visual tension between imposition and persistence, constructions that attempt to organise and erase, and the softer edges of growth that reassert themselves in the seams. The paintings are intentionally mutable in perception (one canvas resists a single orientation), suggesting that landscape is never fixed; its reading shifts with angle and hour, as does the balance of harm and recovery.

Alongside these larger works, a series of smaller panels act as glimpses or fragments, like field notes caught in passing. These more intimate pieces echo the language of the triptych but condense it, offering momentary impressions of terrain, weather, and trace. Taken together, the collection moves between the monumental and the miniature, questioning how landscapes are claimed, altered, and remembered, and whether nature, despite all, continues to find its way through.

Materially and conceptually, the works consider speed and change. The plasticity and immediacy of acrylic paint, its capacity for quick layering, scraping and translucent glazes, is deliberately employed as a metaphor for rapid development and the transient, often aggressive, rhythms of progress. Yet within those hurried marks the slow logic of accretion is visible: histories of overpainting, revision and return that echo the continuing, sometimes hopeful persistence of nature.