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Assemblage of ceramic fragments placed within a wooden print drawer, rectangular in overall form (landscape), each fragment is placed in one of fifty six individual compartments within the tray; the fragments include sections of a 'Ladies of Llangollen' plate, pot-lids, cow creamer, tea bowls, kiln wasters, kiln furniture and a variety of printed earthenware.

Housed in four obsolete wooden print trays, this work is made up of sliced antique tablewares, tiles, pipes and pots combined with new decals (transfers) and digital prints. Responding to objects and prints discovered in the museum collections of Plymouth, Bristol, Cardiff and Liverpool, Paul Scott tells new stories about each of the four locations. He also highlights common themes, such as political and economic history and contemporary environmental concerns.

'Ladies of Llangollen, Dillwyn and Cow Creamers', makes reference to the history of the Welsh ceramics industry and contemporary environmental issues. Intruding into picturesque depictions of the Welsh landscape are images of fracking and fighter planes, wind turbines and badger culls. There are also contrasting reminders of the long history of radical politics in Wales, and of the role played by Wales in supporting slavery and colonialism in the British Empire.

Paul Scott has an international reputation for his work with printed ceramics.