Like the undercurrent of numerical data that cascades down upon the grounds of Cheung’s works through his use of Financial Times stock listings, his Minotaur series contains a wealth of (monetary and mythological) references to current and historical global economies, moreover their unstable and volatile nature. In Supercell, the ‘bull’ (rise) years of the stock market are represented as rodeo riders who dance across barren landscapes, encapsulating an economic metaphor and our relationship to the animal kingdom and land. As art historian John-Paul Stonard writes, “Where Blake saw the world in a grain of sand, Cheung sees the fate of individuals in the face of the great drifts and dunes of civilisation.”