Beatrice Hasell-McCosh uses natural form as the lens to explore cyclicality and identity (geographical and imagined), narrative of memory and materiality of paint. Drawing is central to her practise and she uses closely scrutinized studies made from life to make large-scale paintings. Her often unplanned composition is drawn from memory as well as the studies and, in playing with scale, the focus of importance gives way from direct figurative representation, to a flattened abstraction. Space (negative and positive), texture and gestural use of colour become the central feature of the work.

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Many of the works are presented in parts (a motif which began after a trip to Japan in 2018). Kintsugi - the idea of beauty in imperfection - has been a significant factor of much of the work. As a twin she is attracted to multiple parts that make up a whole.

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Vibrations of texture and the rhythm of nature are at the centre of the work. Watching and drawing from the same spots continuously, seeing plants grow up crowd together, bloom and die, and being replaced with the new. A childhood on a farm in the Northern Lake District provided a deep knowledge and love of the cyclicality of natural life. Though two dimensional, the viewers experience is multi-sensory. The works are windows into nature and a feeling of the painters experience.

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Her work is held in a number of public collections including the Birmingham Museum of Art, Alabama, USA, The Abroms Foundation, Alabama, USA, Hauser & Wirth (The Groucho Club), London, UK, The Garden Museum, London, UK, The Ligabue Foundation, Venice, Italy and the Royal Collection Trust, UK.