“The intensification of common dumb cartoon imagery is at the
heart of Matt Frank’s sculptures. Taking conventional reduced two
dimensional renderings of images such as skulls, nuclear bomb
explosions, swirls and vortexes, Franks solidifies these graphic
simplifications into three dimensional forms in ludicrously bright
acidic or pastel colours. Composited into intricate near baroque,
comical and outlandish objects, Franks’ sculptures don’t seem to
be depictions of either straightforwardly inanimate things nor of
creatures in their own right. Rather they seem to be bodies that lie
somewhere between the two, hybrids with their own mysterious
exuberance.”   -- © Suhail Malik 2004

Sheena Macrae’s work manipulates popular iconography in film
and video through compression, exploring the modern fascination
with speed, nostalgia, information and entertainment. She
misappropriates the readymade formats of cinema and television
through digital media technologies fixating obsessively on pivotal
recurring narrative junctions. These works parody and reconstruct
the dynamics of Hollywood clichés, collective memory and the
standardisation of film narratives, co-opting the syntax of film
language to develop alternative meanings through a post-
production remix.

Stereo Alphaville takes the entire script of Goddard’s sci-fi black
and white cult film, a film that hinges on the erasure of emotional
language as ways to control the inhabitants of the futuristic
Alphaville.  The body of the script’s text weighs heavily on the last
three words “I love you.”  Drink has been called the “missing
episode” from the TV series Dallas.  Macrae’s re-working starts in
the morning and follows through a full day where the characters
ply themselves with alcohol through the difficult pauses until
inebriation of evening.  

“Sheena Macrae’s videos might best be described as
‘compressions’: her massive feats of editing remix films into
miniature, yet unabridged sagas: Pulp Fiction reduced to exactly
one minute, Gone With the Wind crunched from 3.5 hours down to
commercial break size. Their effect is something like speed-
reading: images fly by in rapid sequence, focussing on only the
key elements of action... Like a drug or a diamond, a screen-size
cosmos for the taking. Ergonomic, perfect, and larger than life.” --
Patricia Ellis, excerpt from Flatpack TV, 2005

“The use of cement in Richard Ducker’s most recent sculptures
emphasises a kind of death, or a modernist monumentality, but
the objects it coats and with which it is juxtaposed evoke
nostalgia, myths soaked in dreams, and fairy tales gone wrong. If
a domestic interior is evoked, it is one in which homely things
have sprouted aggressive appendages, grown unexpected
textures, or multiplied into viral aggregates, as if to embody the
nightmares that commodity fetishes might dream of if they fell
asleep. Like Proust’s madeleine dipped in tea, they evoke
memories and sensations according to a logic that combines
cultural association with phenomenological fantasies of sensual
experiences, often clashing within the same piece…Emotionally
evocative without ever telling a clear story, affecting without being
obvious, Ducker’s sculptures seem to be there with the mute
theatricality of minimalism, yet to engage with notions of
transformation. With simple formal means, they excavate fears,
anxieties and desires associated with the most visceral of
physical sensations – attraction and repulsion, pleasure and
pain, need and self-sufficiency. The work keeps referring back to
the body, a missing body we as viewers cannot help but imagine
filling-in for with our own, transforming it into the ill-fitting piece of
a jigsaw we are trying in vain to complete with our presence.”  --
(excerpt) Patrizia Di Bello, 2007