After several smaller pieces placing slightly incongruous images in Victorian photograph frames, Gardens of the Hejaz builds on this theme, juxtaposing two contrasting kinds of image-making. The grid is composed using a combination of aleatory and rule-based processes, whilst the central painted imagery is derived from collage. The two elements remain separate entities, ensuring that the whole is more a construction than a painting. The title evokes an impossibly secretive, exotic world, a parody of 19th century orientalism, into which has crashed an icon from industrial Europe, the locomotive that infamously plunged into a Parisian street below the Gare Montparnasse in 1895.