It is easy to depict what surrounds you; smartphones have made this the norm for artists of Eastwood’s generation (she was born in 1990). The act of taking that filtered selfie, however, is not ordinarily shown as part and parcel of the image. Surrounding herself with the natural world, Eastwood makes the decision to take herself away from the banal urban autonomy that London instills in its artists. Yet natural objects, surprisingly, are rarely (if ever) the subject of Eastwood’s paintings. Rather, as “Drunk on Colour” evidences, it is precisely the action of striding toward the peripheries that the canvases in The Dot Project exhibit.