30 November - 29 December 1996
Ewan Gibbs' meticulously calibrated images have been procured from the pages of holiday brochures. Like some sort of anal and frustrated expressionism that has distilled itself into robotic autocracy, the generic spaces on show and their inhabitants of objects, people and view, have become predicates to the holiday incarnation and facade. The drawings are suffused with a myopic composition reminiscent of Vemeer or Hopper, laced with a sentiment of idyllicness.
Jun Hasegawa has been painting girls since leaving college in 1995. The fashion magazine models and visages that stylised her lustrous configurations have given way to more intimate, more personal, portraits. More promiscuous than before, and less inflected with lifestyle, the reposing subjects invite a prohibited sexualising in looking; foetal and Lolitaesque.
Dirk Lambert's floor piece harnesses all the menace of a group of loitering teenagers with the exaggerated forms of existentialist sculpture. He works in a diaspora fashion, drawing cogently from late a modernist's savvy and an inability to stay in one place. All the materials and mediums interchange in an overly mannerist desire to syncopate a mark, and be seen
In Mark Titchner's intercession in the space he wants to illustrate the impossible. Updating the fascination with geometric abstraction in the traces of 1970's spirograph kits, faces are revealed in the mask of an outmoded graphics through to the thick end of an Op art wedge. Accompanying his drawing is a sculpture, sharing with the work a suspicion of any notion of perceived objectivity
