Cameron’s most ambitious painting in scale to date, 'Delivery ', sets the tone of the show. Seen from the back, a delivery man, his motorbike helmet still on, is waiting for the lift inside the lobby of a residential building. The scene is captured from the street, through the expansive windows, the bike racks outside being depicted in the foreground of the painting. Signifiers of a standardised contemporary lifestyle fill the composition: houseplants, nondescript furniture, stainless steel lifts, concrete stairs, a neutral palette and a small artwork on the wall. A few floors up, someone is waiting for their meal to be delivered.

There is something reminiscent of Romanticism in the work of Thomas Cameron, with a genuine interest in human interactions and introspective moments that we wouldn’t otherwise pay attention to if he hadn’t painted them. In 'Dim Sum Chefs', three kitchen workers are seen taking a break from work in the corner of a courtyard. The architecture is cold, the atmosphere silent, unexpectedly disrupted by the presence of a tree. The three men are either smoking or scrolling, all sitting in quietude, like frozen in time.

The subjects in Cameron's paintings are often depicted from the back or in profile, deeply engrossed in their smart phones. Their stillness immediately redirects the viewer’s attention to the technological device they’re interacting with, opening up a sense of narrative. In 'Voice Note', a young woman sits on the windowsill of a wedding dress shop, absorbed by a phone conversation while waiting to be seen. The sunshine, brushing her back, projects a delicate shadow on the floor. She is not engaged with her surroundings nor looking at the dresses, she is elsewhere, in the company of another.