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In the art of Abigail Dudley, the act of creation is a celebration of serenity. Focusing primarily on interior-scapes and still lives, she combines a sense of familiarity with a search for harmonious achievement that celebrates rather than questions the nature of her subjects. What she does question, instead, is the relationship between reality and perception and, by extent, the expectations of how reality should behave in a painting.

In opposition to what Carl Jung called ‘the modern myth of history as infinite progress’, Laurence Watchorn formulates a circular return of sensible forms to imaginative dimensions, articulating a sequence of creative intuitions that transform the immaterial reality of sensibility’s realm into a bridge connecting the visual vocabulary of the human collective unconscious and the material nature of rational communication.