The power of pattern to encode tradition and encapsulate cultural interaction has long been the subject of research and interpretation for Michael Brennand-Wood. A parallel interest in music and eclectic taste, running from John Cage to Buck Owens, has influenced his approach to the building of textile constructions in which variations on familiar forms reverberate in counterpoint and random geometry. In Died pretty – flag of convenience Brennand-Wood has chosen the universal image of the flower, a carpet-like field of embroidered blossoms and petals strewn over an underlayer of plastic soldiers. Here remembrance is given physical form, evoking killing fields from history to the present and their regeneration that fuels hope and continuity. Brennand-Wood avoids saccharine sentiment by using machine embroidery, which links us to the world of industry and production that stretches from Jacquard’s loom charts of the eighteenth century to today’s computerised sewing machines, their implications for labour and exploitation lying beneath his iconography of nature.