A crouched mountain hare dissolves into overlapping geometric planes, its blue-grey, cream and tawny coat breaking into interlocking facets while violet and purple heather shards angle around it. Seen from several angles at once, the hare sits low and still under even diffused moorland light, with no deep horizon to anchor the eye. The full-bleed composition carries colour and shape edge to edge, a striking cubist study of stillness, camouflage and the northern moor.