It would be time to call Seventeen’s bluff on clever, well-executed painting but given that Drury – an already perfectly entertaining artist – has just sat down in a bath full of baked beans, such criticism may land one a mouthful. The painter’s insistence on amplifying what he identifies as the pictorial crisis craftily verges on the absurd. His canvases study the garden shed in the style of a Japanese mail-order brand trying to break into Europe through TikTok. Representation is only viable by preset, narratives auto-generate captions, and the hues are all but predetermined.

It’s even worse next door, where the microwave oven’s door is the very limit of objectivity. One half-resignedly scrolls through this tiresome, quotidian universality, praying the algorithm glitches out of the matrix. It does not, and it is no help that Drury is entirely right. Painting needs prophets, he still plays a jester.