In The Kingdom of the Blind, a frieze of totemic figures is ranged around the walls, describing the rise to power of a mythical king. Kalashnikovs, model dinosaurs, brightly coloured artificial flowers, the arms and legs of dolls and the odd bungee cord poke out of the plastic green undergrowth of Locke’s supernatural beings, who are draped in long gold chains, as if exotic nature had been transformed into gods in human form.