For a collage of black and white photographs entitled Swanage, Nash depicts objects found in, or connected to, locations around Dorset within a surrealist landscape. On Romany Marsh Nash found his first surrealist object, or Objet trouvé. This piece of wood retrieved from a stream was likened by Nash to a fine Henry Moore sculpture and was shown at the first International Surrealist Exhibition in 1936 under the title Marsh Personage. By the time of the exhibition Nash had come to dislike Swanage and in mid-1936 moved to a large house in Hampstead. Here he wrote articles on "seaside surrealism", created collages and assemblages, began his autobiography and organised a large one-man show at the Redfern Gallery in April 1937. That summer he visited the site of the Uffington White Horse in Berkshire and shortly afterwards began work on Landscape from a Dream. In 1939, shortly after World War II began, the Nashes left Hampstead and moved to Oxford. World War Two At the start of World War Two Nash was appointed by the War Artists' Advisory Committee to a full-time salaried war artist post attached to the Royal Air Force and the Air Ministry. Nash was unpopular with the Air Ministry representative on the WAAC committee, partly because of the modernist nature of his work and partly because the RAF wanted the WAAC artists to concentrate on producing portraits of their pilots and aircrew. Whilst still a salaried WAAC artist Nash produced two series of watercolours, Raiders and Aerial Creatures. Raiders, or Marching Against England, was a set of studies of crashed German aircraft set in English rural landscapes with titles such as Bomber in the Corn, The Messerschmidt in Windsor Great Park and Under the Cliff. Whilst the Air Ministry could appreciate the patriotic intent and propaganda value of those works, the Aerial Creatures series, with its anthropomorphic depictions of British aircraft, displeased the Air Ministry so much they insisted Nash's full-time contract was ended in December 1940. The Chairman of WAAC, Kenneth Clark was aghast at this development and in January 1941 the Committee agreed to put aside £500 to purchase works from Nash on the theme of aerial conflict. Nash worked intermittently under this arrangement until 1944 to produce four paintings for WAAC. The first two of these were Totes Meer (Dead Sea) and Battle of Britain. Totes Meer (Dead Sea) was submitted to WAAC in