The black and white work is mainly Indian ink applied to paper with a Chinese brush. Here Sherratt's passion for detail and elaboration is evident. Creatures from known mythologies mutate into multi-eyed beings, many of which combine birdlike and human features. They recall the ancient Aztec and Inca carvings and statues that so fascinated Sherratt during the years he spent in Mexico and South America. Traces of the remarkably surrealistic carvings of the Makonde tribe that he encountered (and collected) while in East Africa join forces with the horned, wide-eyed Gods and demons that festoon Balinese temples.
In these drawings even such early recollections as the grotesque, weather blackened gargoyles that have for centuries guarded the grit stone churches of the English midlands appear in the general cacophony of lines and forms. These formative influences, by now deeply absorbed and much transformed are nevertheless visible in Sherratt's intensely eclectic, highly personal imagery.