The premise of this exhibition was to deal with the transition between the discovery of the Lascaux cave paintings in the early nineteen forties and the countryside of Bristol. Horseworld is an open environment that allowed for experimentation within the sculpture. The intention was to create a living and developing sculpture within the environment. Horseworld is an environment where families can visit and get closer to nature. Therefore, it was important to think of a sculptural project that would enhance the given environment but add something different at the same time. It has always been my need for my practice to encompass all aspects of material process. Up to this point, my practice evolved around working with plastics (moulding/melting/photographing/process). I decided that this project would need something different. The material needed to be more in keeping with the original inspiration of Lascaux. I chose to use several methods in order to develop the idea. I wanted the material base, to reflect the possibility of decay in reference to the caves. I chose simple sponge, commonly used on a bed for a mattress. The idea was that, when paint (Acrylic) was applied it would have adhesion but would be liable to crack, thus creating age. I created images by drawing stencils (of horses) and combining acrylic and spray paints to create a final image. The overall image was then divided, much like a puzzle to create a disjointed interpretation of the original idea. The puzzle was then placed in the surroundings of the Horseworld environments in the bushes and trees and the intention was to leave the sculpture to develop over time and create a new and evolved sculpture. This sculpture was a different approach in terms of materials but followed the main premise of my practice in using everyday objects to create art but also to change perception of the material and the object.