Peter Lamb's paintings are littered with remnants from the past, physical objects from a bygone age that act as a glue adhering past and present, in some cases the canvas is literally held to the frame by frayed nylon cord as if some ageing eccentric has carried out a sad but endearing patch up job in a desperate attempt to preserve the past. Stuffed animal heads are mounted on the surface, trophies from the days when fox hunting was deemed "a necessary part of every young mans education" and such ritualistic displays were considered necessary to hold up a rigid class system that has its roots planted in English history. The balding and moth eaten trophies, now a metaphor for "a once Great Britton" or a Britton that could no longer sustain a society rife with social injustice, financial inequality, and class prejudice. The random and chaotic nature of theses works, suggests an over turning of the established order not only socially and politically, but also creatively, they are tangible physical reminders of a past, a past that can be revaluated, misinterpreted, altered, distorted and even denied.