'A lap around the room, and it’s clear to see the prevalent colour within each paintings to be blue— whether found in skies above arid landscapes, haphazard seas surrounding an ethereal cruise ship, or as a dominant wash across an entire canvas. There is indeed something calming about the artist's use of the colour; even in scenes dominated by skeletal self-portraits, or zombie-like stupefied subjects, it injects a the subtle optimism of the natural world and in turn, natural order. Nods to the perils of capitalism (exemplified in Sever My Arms, Decorate My Heart), self-destruction (not only the danger of the level-crossing, but the Diet Coke and cigarette packet in Trinity) and narcissism (in both Self Portrait In Antiquity and to an extent, Buried Fibre Optic Cable Girlfriend) can’t be ignored either, with Gray subtly analysing a world, seemingly built on dissatisfaction, in which normalised everyday and basic behaviours, rituals and vices do nothing but hypnotise, alienate and pacify— perhaps themselves serving as near-death experiences in that they too raise a pulse, by pulling subjects towards an empty, echoing void.'.