Evans’ sculptures hover between mundane recognizable objects and mysterious abstracted forms that reference the body. She employs simple, recyclable materials and hand-built processes. In this exhibition, The Evolution of Tubes, Evans uses a direct additive process, coaxing cardboard tubes into anthropomorphic gestures. The quirky postures of the sculptures suggest an energy and intentionality of movement assumed to be absent in such common construction materials.

Kalloch’s intention in her non-objective work is to utilize the basic elements of visual language such as point, line, surface, color, form and light to create maximum visual impact. A simplifying approach to the process is the driving force behind the end product. The reductive aesthetic in her work is an overlapping of decidedly contrary elements; a play of many dualities. The work resides in a place where the interplay of line, dot and light and the relationship of harmony and balance play significant roles.

The Poetic Licenses are a play on words, and most viewers, when confronted by these groupings will at first see a random juxtaposition of weathered automobile plates from various countries and states. They refer to the phenomenon of ubiquitous so called “vanity” plates, with the exception of several which have been joined together to form full statements. Most of the statements are those of artists about art and some are humorous. It may be noted that each plate is rendered as a convincing entity (although created from vacuum-formed styrene) and the groupings appear to be an assemblage of found objects. The license plate format is that of objects of utility transformed into a functional object wearing the mantle of “high art”. They open another territory in the development of Text art.

Art of the Real consists of four extremely successful British artists who have found each other as a confluence finds its meeting place. Angus McEwan, David Poxon, Denis Ryan, and Sandra Walker have common threads running through their work, not only the fact that they all use watercolor, but many other facets that bind them together as a group.

The group’s love of craftsmanship and the ability to provide a realistic interpretation of their chosen subjects is apparent. However their art is not just about portraying realistic elements, or proving their superb technical ability, but an endeavor to transmit hidden meaning. Their endearment towards and emotional attachment to each and every chosen structure is in itself a reason to form a collective celebration of real art.