This resin paintings encapsulates elements of a morning in spring spent on the lane up to the Bronze Age camp. Steep banks carpeted wild garlic dappled with spring sunshine. It also represents features of the other Planet Paintings from the show.

The work requires the materials to freely blend, bleed and evolve within the surrounding black background and are based on the pallet of the lanes and byways compositions. As well as impressions of familiar landscape they are views though a microscope and in to space – to the frontiers of our war with nature.

The thought in my mind is that through abstracting the natural patterns I hope to find a more universal language to describe how transient yet universally connected things are. The circular planet paintings are really the next step in attempting to encapsulate all within the whole. They are a telescopic, microscopic and kaleidoscopic perspective exploring our relationship with nature and wilderness in the context of urgent and changing times. They are like planets or moons; at the same time, they represent microbiological events such as the infection of a cell by a Nova virus and the consequential effects.