Setch’s large paintings in oil and encaustic made on unstretched sailcloth, which he made from the early 1970s, allegorise a threat to the well-being of man and nature from pollution and war, and the threat of nuclear catastrophe. Setch has never ceased to experiment with new materials: this experimentation has embraced constricting three-dimensional objects, the incorporation of found materials and detritus, mixing paints in unorthodox combinations of synthetic wax, using Styrofoam and polypropylene sheets as supports, and introducing plastics, chalk dust, heat and corrosive fluids to a very tactile process.