Wilson takes the oak tree and the folklore around it as a starting point for this new body of work. Referred to as the king of the forest, the corporality of the oak envelops the landscape - a corporality that links to its associations to protection -, becoming the main character in the world conjured by the artist. The oak is home of all biodiversity that lives in these lands, including the fantastic, hairy creatures that inhabit these landscapes.

A visit to a print shop in Covent Garden triggered the theme of the show, Georg says. “I started by going to a print shop in London and buying some engravings from the 1700s and 1800s that represented the oak. There are a lot of engravings that commemorate famous oaks that I might have never actually seen in person, but I was interested in taking this sort of memory of an oak and making it into a painting of one that I came to know through making the work.”

Organically through the process of making this body of work, Georg realised that she wanted to convey the whole cycle of the tree's life, that’s how The Oak Cycle came about. There's a huge canopy that stretches over the composition, but later on in the foreground one can see the seed that the oak is growing out of. In the background, almost less significant than the tree itself, is the creature. Clutching the saplings of the tree, they could be the oak’s custodian or indeed the one who long ago planted the tiny acorn from which it grew.