This Dark Ceiling promises the viewer pleasure and angst in equal measures...

Lorna Robertson's current work examines objects that might be found in car-boot sales or glass cabinets at the V & A.

This series of paintings tries to make a new context for these objects, re-claim them for her own means, and re-position them through pictorial language. Robertson concerns herself with the special aura and presence these can be given through heightening visual aspects of them – interpretating and altering proportions and colour, while being faithful to the essence of them.

Andrew Cranston draws and paints at the same time, and without conflict from both observation and imagination, and believes that the best art often has an element of both. His work affirms a belief in drawing/painting as a real kind of fiction. True Lies...

Much of the work looks at architectural space and creates an analogous equivalent in drawing. He enquires how presence and absence is felt and evidenced in interior space: old rooms, offices, apartments, studios, etc.

He wonders about his neighbours without making any effort to be neighbourly. "What are they doing next door?" ("What is he building in there?" Tom Waits asks).

His work also makes reference to descriptions of architectural spaces in literary texts (Kafka, Perec, Poe to name a few) – spaces that are fictionalised but nonetheless believable.