In ‘Wide Eyed Embers,’ we see several human characters like ‘Edwin’ repeated, their relationships to one another unclear. They stand in the desolate rural landscape of Bagilhole’s imagination. The intimacy of these characters contrasts with the darkness of their external world. In ‘Look through the pine barrens', we see a female figure gently holding a dog to her chest, walking away from the fires surrounding them. They are safe and contented. There is a tender hopefulness to the image.

These repeated motifs, which Bagilhole describes as ‘Easter eggs', encourage the viewer to look deeper at each piece. Each little detail has meaning; nothing is placed on the canvas without intent. For example, in this new series, we see a fire watchtower in the distance in several of the works, with a single lone figure in the window. Watchtowers of this kind are common in the rural forests of America, where watchmen stay alone for months at a time, watching and waiting to sound the alarm for any signs of wildfire. Who is this figure? Is he Bagilhole himself? Another repeated image is of cows, a link back to Bagilhole’s upbringing on the dairy farm. He explains that the cows are ‘home’ to him; even in the chaos, the image of the cow takes us back to the calm, idyllic simplicity of country life, adding layers of narrative and personal history to Bagilhole’s works.

Bagilhole’s debut RHODES Project Room exhibition, ‘Wide Eyed Embers,’ is a compelling exploration of the uncanny and the profound, inviting viewers to question and reflect. It is a testament to his ability to blend the personal with the universal, creating art that resonates on multiple levels. As we delve into his surreal world, we are reminded of the power of art to evoke curiosity, wonder, and a deeper understanding of the human experience.