In Gallery One is Michael Ciavarella's Hard and Fast, a collection of small-scale canvases and collages accompanied by a large, concrete sculpture on the floor. The sculpture looks like a plinth that's been dug out from the earth or retreived from the bottom of the sea. It's weightiness seems an apt contrast to the airy, sparse and [occasionally] comical wall based works.
In Gallery Two is Kiera Brew Kurec's Dead Life. This enormous festoon occupies the whole space, and emanates vaguely the sound of Easter Litanies from a Ukranian Orthodox church. The pungent odour of plant matter fills your nostrils when you eneter this darkened room, and the sensation of an organic living [or dying] presence is overwhelming.
In Gallery Two is Kiera Brew Kurec's Dead Life. This enormous festoon occupies the whole space, and emanates vaguely the sound of Easter Litanies from a Ukranian Orthodox church. The pungent odour of plant matter fills your nostrils when you eneter this darkened room, and the sensation of an organic living [or dying] presence is overwhelming.
Salote 
Tawale's I love you, I REALLY DO, is in the project space. This work contains two parts, a large photocopy blown up to a huge scale of a hand giving the single-finger salute. Simultaneously confronting and hilarious. On the floor next to it is a video of a woman [the artist] doing a really great dance that just makes you smile.
Tawale's I love you, I REALLY DO, is in the project space. This work contains two parts, a large photocopy blown up to a huge scale of a hand giving the single-finger salute. Simultaneously confronting and hilarious. On the floor next to it is a video of a woman [the artist] doing a really great dance that just makes you smile.And finally, on the Night Screen we have Rosa Tato's Made in China. This video, comprised of photgraphic stills taken by Rosa during a visit to china, explores the comparisons and contrasts of traditional Chinese garments and the industry that surrounds them.
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