Hayward's paintings are a celebration of hybridity, harmoniously converging art historical and musical references with distinct modes of making. The paintings honour what informs Hayward's personal and artistic narrative - rave culture, abstract expressionism, post war British landscape painting and his mother's textile collection. Repetition and remixing, to borrow from music terminology, are key to the artist's painting process. Hayward likens the variation of forms in his paintings to the practice of sampling in electronic music.

The title refers to TRAX Records, a record label based in Chicago which played a major part in the development of house music. The bottom left part of the painting has two rectangles with cut out chevrons, the unusual fragment nods to the avant-garde movement of vorticism. In this area of painterly flourish, Hayward reimagines a 1934 work, ‘Landscape of the Megalith’ by Paul Nash. In Hayward’s own versions of quintessential British landscapes, the small scale and great level of detail speaks to his training in Indo-Persian miniature painting. Emulating embroidery, the bottom right section is delicately textured paint. The bovine shape is a symbol from an intricate appliqué ‘Shrine flag (‘alam or nishan)’ from Uttar Pradesh, c.1896-1910, which Hayward sourced from the tome, ‘The Fabric of India’ ed. Rosmary Crill (2015).