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C and D to pretend that they have been part of some great discovery. There’s no room for the eye, then, no way to follow the line.

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To name the frustration of this oeuvre is thus to make an embarrassing admission. Wool’s 2D projections are too many. They thus reveal that their topographic trajectory is wholly predetermined. In three dimensions, the sculptural jumbles are too solid as they pass

These trajectories resemble Brownian molecular motion, as unpredictable as they are vital. Wool’s gestural compositions intrigue with their promise of inevitability, despite, alas, lacking pictorial originality qua works of art.

His first collection of fiction, The Nightmare Exhibition, was published in 2001, followed by Morbid Tales in 2004. His novella Shrike was shortlisted for the Shirley Jackson Award in 2009.

Quentin was born in the seventies in North Devon. He studied Japanese at Durham University and the works of Higuchi Ichiyô at Kyoto University’s Faculty of Letters. In the late 2010s, he studied philosophy at Birkbeck College. He is the author of multiple novels and short stories.

of language to ostend things outside of normal sensory experience.

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He will compare the otherworldly atmosphere of supernatural horror to the Japanese aesthetic of yuugen and to address the philosophical concept of intentionality as the basis of both language and literature, showing that the literature of supernatural horror employs the normal intentionality

psychedelic visions? No matter; how loudly they revolt against the cyclicality of their studio siblings! How spectacularly they burn!
 
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for the cobbled mews gallery’s architectural columns.
 
Which is to speak deliberately around the paintings, extracted from a series made in the early 1990s. If Lijn’s oils lack finesse, they far surpass the sculptures’ dynamism even as they are static. Are these dreams, floral fields, or

projections; those have had little in common besides their spin. The two totems now doing their rounds spin yarns of enamelled wire. Elsewhere - in Tate’s Electric Dreams, say - they could have inducted currents to stop a pacemaker. Yet paired with Lijn’s abstract canvases, they turn easy to miss

intellectual primacy is truly over. What’s wrong with rights makes no right with painting.

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