Bernadette Cotter's enigmatic installation in Gallery I of the Triskel Arts Centre poses more questions than it gives answers. In itself, this is not an unusual feature for new media practice, but unlike the rather more clinical and austere minimalist end of the spectrum, Cotter's piece is quite textural and layered with meaning.

There are several components to the installation, the focal point being an arrangement of glass constructions suspended from the ceiling into the shape of a rosary - a cloak sewn with 12,000 buttons takes the place of the crucifix. Along the walls are hundreds of small rectangles of fabric and tracing paper, each inscribed with the words "here" and "now". Each of these appear to have slight differences, giving the effect or impression that they are handwritten - an entirely unlikely event, but the impression goes a long way to adding to the contemplative nature of the work.

Clearly the religious aspect is central to the installation, but is the artist reflecting upon the spiritual, ritualistic or sentimental aspects of religion? Or is the work in some way an expression of genuine belief?

Each bead of the rosary is made up of an eggcup smattered with broken glass, implying perhaps a more sinister context for the work. Ultimately, however, the most seductive aspect of the installation is the way in which the sheets of text flutter when people pass by forming a "breathing wall" evocative of Eastern, rather than Catholic influences.

Runs until January 25th