What Grows in Anna Tatton’s Garden

Hieronymus Bosch painted his Garden of Earthly Delights around 1500 as a triptych—paradise, pleasure, and damnation laid out in sequence, every panel packed with hybrid creatures and half-formed dread. Anna Tatton’s version inherits the density and the unease, translated into her own language of fine line and botanical excess. The pleasure is still threaded through with threat; the garden is still somewhere you’d want to enter and probably shouldn’t trust. Good illustration doesn’t explain its sources—it metabolizes them, and leaves something changed.