Beard’s works from this period explore the nature of the junction of the sea and the horizon and the ways in which mood is evident in the clouds: back to Turner, where the depi ion of the sky is an expression of emotion.

It is as if he is tip-toeing back to where Monet left off and whereby it once again becomes legitimate to paint a seascape which is recognisable as a seascape even if that is not the purpose of painting it: the purpose is in the act of depiction.

The waves roll in from the Atlantic in inhuman torrents.
— Charles Saumarez Smith, 2011
The prints attenuate a light reading from almost white to almost black. The frames touch each other and act as a registration of the modulation.  The same image is repeated into the seven works on paper which are variations on a theme.  The overall effect might be about detachment.  The ambiguity is paramount— readings oscillate in between shadow/ rock/ void/ water/ vaporous material, between purposeful and aimless gesture- between and all and nothing at all. A state of pre- perception and of pre-history. A raw state before seeing...

The spaces created through the transference of material from one medium to the other are form a tacit cloud that may lessen the need to categorize and consume. The new works sit vulnerably on the very edge of perception. They are still and silent, and perhaps suggest a condition which is in a state collapse.
— John Beard