Painter and sculptor Alexander Carey-Morgan benefits demonstrably from his dual life lived part in town and part in the country. His various paintings of poppy or papaver fields (various in scale, colour, and mood) function as explorations of material and technique, namely staining muslin and canvas with watercolour and coffee, as they do as explorations of landscape. Obsessive over the ‘sublime’ as manifest in art, in particular the enigma of Turner’s later paintings, Carey-Morgan looks to the natural landscape for solace and meaning. The charged papaver field, with its allusions to memory, pleasure, danger, dreams, and death, provides a ground for the artist to contemplate transcendence. His sculptures, of forms growing from within and from underneath, spark conversations surrounding life cycles, (re-)growth, and of material things as vessels for emotion and spirit. In both painting and sculpture, Carey-Morgan is careful to meet seemingly natural forms with those more cultivated and contrived. These works subsequently function as at once abstract, landscape, and figurative paintings as rich and as fertile as the landscape they depict.