Through the meticulous use of his 5x4 large format view camera the photographs “are given heightened effect through exaggerations of colour and composition, embodying a friction between British pastoral ideals and present reality.”[5] Within scenes that feel like traditional landscapes, our ideas of it are intruded, often by pollution, decay and WWII debris in this “mixed-up meeting-zone of rural and urban; where city frays into country.

I think that you couldn't be a human without being worried about the kind of planet we're leaving to our children.”[7] Winged Bull in the Elephant Case “is an immersive performance for the screen about preserving our cultural heritage in the face of violence and aggression.

"[8] At the start of the Second World War, the National Gallery's art collection was buried in the Manod slate mines in Snowdonia for safe keeping.

Winged Bull in the Elephant Case “dramatises the journey of a lost painting that takes human form, as it strives to get back to the gallery.

It coincided with a film piece called Winged Bull in the Elephant Case he wrote and directed, as a collaboration with the choreographer Wayne McGregor.