Surrounding the large painting is a series of small vitreous enamel works. These hand painted objects, informed by a recent residency in Athens during which Burton encountered the historical medium of Ex-Voto objects, are made using an ancient technique whereby powdered glass is fired at high temperatures in a kiln onto copper substrates. Their arrangement in the gallery space also reflects the cosmological arrangement of the superhighways and stars found in the painting. Displayed in groups: pairs, triads and singularly, they suggest both an open system of interpretation but also one that allows for specific connections between individual works. Personified moons, traffic light pendants, abstract cosmic discs, blood-shot eyes, ‘Anxiety Colour Wheels’ and discrete portraits punctuate the space. Too small to see from a distance, they become abstracted, bejewelling the walls, accumulatively giving the space an ornamental atmosphere. The position of the enamels suggest that the work’s function, context or ‘frame’ is ambiguous – both on and beyond the gallery wall. The exhibition reflects a moment when worlds are alternately expanding and contracting exponentially- the bigger the crowd on conference calls, the smaller the faces – a collapsing of time, distance and space. It is a vision of a dream-like reality nearly devoid of people in the landscape, only appearing in the enamel portraits occasionally, discretely and untethered from any known surroundings.