In Appleby’s acrylic paintings, flora take on a near-sentient presence, inhabiting interiors and symbolic terrains where light, personal objects, and memory coalesce. His early engagement with retro video game aesthetics has gradually given way to a more contemplative visual language, one in which imagined landscapes emerge from the textures of the everyday. Familiar domestic spaces, a bedroom landing, a spare room, a distant hillside in the northwest of England unfold into sites of quiet revelation. In one image, a reclining figure gently recalls the contours of a northern hill; in another, the plant becomes a gesture toward knowledge and interdependence. Orchids, bonsais, and daffodils serve as witnesses to solitude, duration, and inner transformation. Here, the divine is not distant but embedded, in the glint of a ring, the curve of a stem, where the domestic and the transcendental coexist. His work affirms that the nonhuman world is not a backdrop, but a reflective presence with its own quiet agency.