Cook, a seasoned traveller, has not ventured out of England for the inspiration for these new works. They are fed by smaller journeys, many of them to the flat lands of East Anglia. Taking inspiration from walks in Suffolk and along the North Norfolk coastline she comments that she's "particularly interested in the sea's retreat, the eddying of the land, the rich peaty soil and the vast skyline." The meeting point of land, sea and sky has long been a focus for Cook's art, making paintings which take landscape as their subject without being explicitly descriptive. Cook refers to her paintings as "internal landscapes" meaning that far from being literal reproductions of geographical locations, they are "emotional responses to the natural world".

Through a suggestion of silvery clouds and mudflat she evokes not a specific view or portrait of a place, but a larger statement about this type of country - a place where the imagination may soar. The new paintings are cool in colour but optimistic and quintessentially British - muddy greens, pale blues, greys and delicate, dirty yellows.

In his catalogue introduction, Andrew Lambirth, Arts Editor of the Spectator, comments that "Walking in Suffolk and Norfolk, with the horizon like a distant echo, the experience can be humbling. Man in relation to the earth: the scale of things: our relative insignificance.... Cook's paintings are very susceptible to changing light conditions. They can take a lot of strong natural light and ideally should be watched throughout the day and observed in different intensities of direct or diffused light. The results are inspiring, the horizon line dominates this body of work reflecting Cook's view of the horizon as 'my gage of hope and possibility'; she shares these hopes and aspirations with us, and makes us once more aware of the infinite possibilities of the world".