Rather than replicating scenes from the rebellion, however, this work focuses more on the psychological impact of slavery. Towns also uses daydream and religion—particularly Christianity and the book of Exodus—as strategic symbols and frameworks of escape, rebellion, and freedom. In much of the work, he presents likenesses of Turner and other enslaved men, women, and children as canonized fever dreams, haloed with gold leaf, the moon, or nooses. Butterflies and other metamorphic iconography flutter about cotton plantations. In some scenes, Cherry Turner, wife of Nat Turner, is depicted as a magician assisting Nat in miraculous feats of escape. The collection has a rhythm, reading like a soundscape composed in four movements, and features four series: "Joy Cometh in the Morning," "Story Quilts," "Black Magic," and "Find Me A Constellation." Each series includes quilts and paintings imagining martyrs who vehemently fought and died alongside Nat Turner while resisting the devastating institution of slavery. "Find Me A Constellation" is the only series of portraits that reference real images of enslaved children; the other people Towns depicts are surrogates for the millions of enslaved Africans whose names we do not know.