Baldock uses this elaborately rudimentary technique to explore a contemporary kind of ‘primitivism’. Looking at different cultures from all over the world, his figures are adorned with all manner of exotica – florets and bijoux, armour plates and masks – and speak of tribal rituals and tortures all the while proclaiming distinct Englishness. The overall effect is one of fiercely unnerving nobility: a quasi Jane Austen meets Wicker Man. Titled after a nagging lovelorn wife whose husband has strayed in Shakespeare’s Comedy of Errors, Baldock’s Adriana, wearing her heart on her brow and with a tear spilling from her eye, becomes something of a coquettish monstrosity. Bejewelled with savage markings made regally chintz, she’s made up to the nines with pleasing ‘win-back’ cosmetics, all begging dolly eyes, cuckold clown nose, and rouged gaping mouth firmly tied shut.