Site-based work developed from new dialogues and previous outcomes for Hestercombe House, muddling themes of fire, flowers, destruction and restoration to question who or what can have a say.

Responding to plantswoman Gertrude Jekyll's exacting attitude to colour and the language used to describe it, Spill: real colour (part one) tests her rejection of the term 'flame-coloured', enrolling fire to investigate flower hues. The result is a colour-rich series of images of scorched blooms. The accompanying work, Spill: real colour (part two), attended to Hestercombe's numerous fire grates, weighting and levelling them with coal - organic matter blackened through time. Some grates, in rooms deep in the house, were unavailable to view.

And situated in the former Control Room of Somerset Fire Brigade, taking stock, the opaque light-boxes of Spill (control) let loose a handful of words.

Technical support: Tim King

Exhibited in Materiality: Provisional States with Sarah Bennett and Philippa Lawrence, Hestercombe Gallery