Around the white room, on walls and floor, tiny black plastic Erin Advancer grow-pots sprout leafy stems of the Wandering Sailor houseplant cultivated phototropically by daylight simulation bulbs. But the pots are hidden in smooth, white geometric arrangements of slim flat planks around a metre long, juxtaposed at angles.
Looking like maquettes for an early Anthony Caro sculpture, or more likely for some architectural experiment in low-rise social housing or new arts space, the works are smooth with gesso. Sparse squares and rectangles of silver gilding draw the viewer forward, intrigued. Then, really close up, that tiny smudge which makes each piece imperfect turns out to be a black-and-white photographic print, 2mm square, showing a detail of a larger photograph of people marching, grim faced, in protest.
Such are the power and familiarity of such icons in the North, it is easy to speculate that these are from Derry, against Bloody Sunday. Thus the artists speculates how we, like those modest plants, can be cultivated under the control of the built environment and those who devise it.
Runs until August 27th.