The pieces are created through layers of intricately applied oil paint, a slow drying medium which allows Swan to continuously work back into his paintings, moulding and mediating his subjects like a sculptor working with clay. The artist feels more akin to a draughtsman or sculptor than a painter; his practise is physical and active, involving carving, etching, and drawing into his paintings. Careful mark-making imbues the portraits with texture and form, evocative of animal fur, human hair, wrinkled skin, and creased fabric. Soft backgrounds of lilac, pink and pale blue bring a lightness to Swan’s works, offsetting the capricious characters of his subjects.   

Dogs, deities, and rabbits are recurrent motifs of this collection, speaking to the artist’s interest in folklore, mythology, and ancient Egyptian gods. The artist frequently tries to depict animalistic traits in his characters, drawing profound parallels between man and beast within his work. Despite their menacing first impression, Swan’s subjects are creatures of human depth and emotion that, like Glasgow, need patience and time to be understood.