The painstaking processes of compulsive repetition are glaringly, thrillingly present and immediate in the work of the two artists on display in this show dedicated to the sprit and formal aspects of the term “infinite”. Close inspection piques awareness of the tremendously precise physical exertions involved in the construction of the works, while a step or two back allows for the more meditative features to resolve themselves, leading to an intriguing composed duality between a noise and calm in the pieces that avoids any disruptive or dissociative quality. Gemma Cossey’s intricate, near-mathematical studies of line repetition, (allowing for “faults” of concentration, instruments used, sudden inspiration) attain a bracing sense of movement and texture, bringing to mind the warp and weft of weaving, the intricacies and delicacies of lace and fabric fold. Grid(Blackwhite and Continuum) could be topographical studies of bisected landscapes and bodies of water; SQ4(Square Root), with its forceful squall and surge of motion from the right side of the frame, could be computer data, the cold flame of binary code visualised. Large Circles/small circles iv(Continuum) explodes outward from the forensic intensities of the majority of Cossey’s works by contemplating the celestial, an orbit of controlled white circular slashes around a globe of line transmissions. Various treatments on the canvas surface also determine the flow and development of design elements. Jane Ponsford’s handmade paper sculptures may incorporate elements of earth and other found objects collected from walks through landscapes which often are the starting point of inspiration-thus, the soil fragments composition of A Short Walk, a quartet of mounted wall pieces that effortlessly recall a series of cross-sections of trees, with their suggestions of timelines and history, of endurance and inviolability. Also addressed are natural systems of decay and alteration as in the main room’s Accumulate, a pin-prick convergence of butterfly-like wings upon the wall, the edges of the fragile paper starting to turn in soft rusted corruption from their anchors. From above, Assemble’s field of gaunt pin figures, each fitted with a twist of ebon-stained gampi paper, reminded me of a passage from“War of the Worlds”, with its march of hostile alien colonisers, vulnerable looking but lethal-or a field of flowers gone to plague and ruin. Always available is the exquisite tension between buoyancy and strength (embodied clearly in Material Drawing 1, twisted and knotted paper given the appearance of rugged netting). It’s best to just surrender yourself to all the works, with their unique properties to seize upon your senses, drawing you well inside their beautifully arranged vortexes. Infinity runs through 2 December

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