'Golden Gate (after Giotto)' is informed by Giotto’s Scrovegni Chapel fresco where a prescient figure shrouded in black, watches Anna and Joachim embrace. Their deep gaze is the first time the prescient soul is present in Western art. In Fiona’s assemblage, her freestanding rectangle, mirrors the form of Giotto’s city gate. With Fiona’s black beaker prescience becomes engraved volume; the assemblage's earth colours hint at todays troubled times. The crystocal plinth creates the arena.