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The painting, Playground, as well as Muttonbird, Tuna, Tasmanian Tiger, both examine the use of plastic during the Anthropocene era and its impacts on the local seal and bird population. We see the evidence buried deep. The final painting Pig face, Murnong, Xanthorrhoea, Flint - looks toward a hopeful future with a return to Australian ecological abundance through the planting of sustainable local indigenous foods, bush re-generation and traditional burning practices. Set in Tyrendarra, where Cat lives, the painting speaks of the fragility of the environment and a hard won, indigenous garden, which the artist built in collaboration with the Gunditjmara Rangers, local children and an ecologist. The painting suggests a brief reprieve to the artist from the cognitive dissonance felt in relation to climate change. The skeleton, although a personal symbol, refers also to the habit of artists, in the renaissance period, of placing a skeleton in the painting to remind the viewer of their impermanence.