For the exhibition, Order of the Golden Carrot, I drew from visits to numerous bronze-age barrows in Wiltshire (small man-made chalk mounds), whose meanings remain partially unknown. Through references to Victorian ideals of taste, domestic display and the era’s fascination with the supernatural and mesmerism, the works consider how beauty and order have been used to frame mystery. In the exhibition, the carrot becomes a symbol of knowledge just out of reach, suspended like empty scrolls or still life objects. Clay and chalk, present both in the barrows and in the works exhibited, quietly bear witness to our attempts to civilise and serve what cannot be fully known.