Gentle and Cruel

Camilla Taylor's minimal figurative sculptures and works on paper depict partial figures pulled from the subconscious, eliciting a sense of familiarity in the viewer without an ability to place where they are remembered from.  Using a flat black palate, the sculptures appear both three dimensional and as a vacancy in the room, a dark void when looked at obliquely.  The figures are a physical embodiment of a memory partially forgotten.  

Mary Little's artist canvas wall hangings are uniformly soft white, shaped by careful pattern cutting into undulating folds, indentations and depressions. Each piece an echo of Little's childhood surroundings. Sometimes the gentle rolling landscape of the north of Ireland, sometimes the traditional patterns on the Aran sweaters knitted by her mother. Each a memory of an existing landscape and place, each changed and softened by time and distance.

David Eddington chooses the immediacy of painting, the sensuality of the brush marks and the richness of pigment.  His paintings are a depiction of envisaged worlds and strong beliefs, a mix of accumulative and meditative thinking. Each work emerges from a welter of shifting choices: additions, subtractions, superimpositions, destruction. A creative process where he sees himself, the artist, projected though eventually almost obliterated. For him this is creation; powerful on the one hand, vulnerable and fragile with the risk of failure and dissolution on the other. Along this path each work evolves, ideas led, but materials controlled.