‘Wild Things’ records the colours and scars and markings on a magnificent old river red gum in the Barossa. Against a vibrant and almost glowing background palette of light shades of raw sienna, pale naples yellow and pearlescent white, the markings in raw umber, burnt umber and phthalo turquoise paint a scene where shapes and forms and faces begin to emerge, if the viewer looks deeply enough. See if you can find the kangaroo, the platypus or sea-otter (it could be either), the butterfly, the nesting crake, the gecko, the curlew at evening, the Highland cow, the leafy sea dragon, the two separate groups of cliff-dwelling seabirds, the sparrow’s head, the shy dingo, the shaggy European bison, the almost-impossible-to-find nude approaching the turtle and the white-feathered petrel chick, the dingo emerging from the tall grass, which is ignoring the penguin behind it, the kangaroo wondering whether it should stay put or jump. We all see what we want to or need to see in Nature’s patterns, as Leonardo da Vinci explained over 500 years ago.