For her new London exhibition, the American artist Lucy Dodd has been making paint from an unlikely source: Scottish peat. The good, the true, and the beautiful, on view at Sprüth Magers in London from 18 September to 24 October, is the darkest body of work she has yet produced — and its sombre palette begins with the boggy earth of the Moray Coast near Inverness, where Dodd relocated her family from New York. Speaking to Artnet's Source Material column, Dodd explained that she begins each body of work with an archetype she can connect to personally, collectively and mythically. Here the figure is Artemis, the Greek goddess of the hunt, the wilderness and the moon, who refused marriage and social convention to become protector of forest animals — and of girls and women in transition. The personal link is Dodd's grandmother, named Diana, the Roman name for Artemis. The collective one is another Diana: the Princess of Wales, whom Dodd sees as the goddess's mirror image — a woman hunted for the same desire for autonomy that Artemis defended, and an icon of unprocessed collective grief. The peat-rich paint binds the new works to the Scottish landscape and to the emotional weather of a life in transition. Dodd's paintings have long worked at the boundary between the bodily and the cosmic, and the Artemis cycle pushes that further, joining myth to the matter of the ground she now lives on. The exhibition marks a chapter for an artist whose practice treats painting as a record of where — and who — she is, with the dark, peaty surfaces registering a move from New York to Scotland's rugged northern coast.