The formal structures in Tim Renshaw's paintings function as visual equivalencies for the organisation of urban spaces, Entitled 'RSI' (Repetitive Strain Injury), the paintings' repetitive organisation presents a particular way of experiencing modern city spaces. This 'strain' is replayed here in the obsessive nature of the labour required to produce the work and induce a kind of perceptual numbering through an incessant optical flickering.
Bernice Donszelmann's wall-drawings play with a notion of optically conceived as a kind of fullness, as something which is self-sufficient in terms of its effects. The systematic character of the work produces an image which can be read as one image itself toward its anticipated mutation in another imagined form.
Andrew Chesher's recent practice consists of making rudimentary objects, using wood and sheet materials. A series has developed where on one hand the objects are almost but not quite utilitarian, and on the other almost but not quite representational.