A cave on the Cornwall coast, drawn from memory in charcoal on A0 paper. That drawing — the skeleton of the place, its ancient structural logic — is still there beneath the paint, holding the composition even as four layers of acrylic work to cover it.

Ochre forms the ground. Over it, three colours — paynes grey, burnt sienna, turquoise — are applied in restrained, deliberate fields, obscuring the charcoal beneath without fully replacing it. The cave remains. You cannot see it, but it is holding everything up.