In this exhibition artists explore three dimensions in various ways. Sculpture is the most traditional method artist employ often using the human figure and beckoning the viewer’s hand. Here Stringer not only references one of the most well known art historical figures (Bottecelli’s Venus) but brings it into the third dimension and even alludes to the sculpture’s own figure or presence.
Others such as Frazer and Williams stay within two dimensions and deceive the viewer with the third. Nepia uses feathers as if paint but presents them with their architecture and invites the sensuousness of touch. Fairclough’s work beckons and questions the viewer to sample Eden’s (Aotearoa/New Zealand) apples in all their glass fragility. Nash while making reference to nature in form has enriched the original with his colour saturation, the smoothness and lustre of glass. Still referencing nature, Nicol (Untitled 7) excels with burgeoning potential of new life and growth.
Jones encompasses many dimensions citing not only growth but decay and the presence of the fourth dimension by way of the seasons. In this surprisingly simple but beautiful work, movement and the unexpected shadow game play significant supporting roles as the leaves float free of the wall.