In this exhibition Marie Hanlon has consciously distanced herself from the more formal characteristic of her earlier work. There is a sense of liberation, excitement and discovery and a palpable new element of 'freefall'. Motion and transience are a central preoccupation; two objects, moving in opposite directions, may momentarily overlap and those incidental details, glimpsed in passing, present a 4th dimension. At the core of the work are the rhythms, patterns and forms of everyday experiences. Painted areas collide with the more graphic elements of line - painted or drawn - these have the effect of unsettling the scene or of setting things in motion. A chequerboard grid pattern, sways from side to side before it dissolves into a series of outlines that seem to stumble out of the picture space. Hanlon’s colours are generally reduced to pure and distinct single tones that seem to shout like a blast of shrill brass in a jazz solo. As always, Hanlon’s interest in surface is paramount; paintings on exposed, pristine, birch plywood have the effect of heightening the tension between figure and ground. Smaller, 'box-like' miniatures, capture and concentrate images on such a diminutive stage, they resemble the barely visible glimpses of passing phenomena that they represent.