Eschewing the conventions of white gallery spaces, the walls were brusquely saturated with Aztec brown lime wash, while the artisanal nature of the display plinths and furniture complemented the works they presented with exacting sentiment. Stacked Hebel blocks with eroded edges supported Ryujin’s Shou Sugi Ban timber vessels and Walker’s ‘Living Ceramic’ series – porcelain vessels comprising hundreds of individual applications of clay, granting them organic growth-like textures. A turned and charred solid timber plinth by Ryujin revealed the elemental strength of fire as did the fragmented glass sculpture by Douglas upon it, while ‘Totem’ – a weighty steel structure designed by Lynch – was executed in a waif-like form with a tailored sheath membrane, complementing the ceramics it supported.
