As you arrive at the space you are immersed in an example of the utopian planning that 1960′s scifi movie directors dreamt we would be living in. This complex is a myriad clean lines made from steel, cement and glass. Surrounded by these beautifully sleek buildings the old pump house, where that gallery is situated stands out like a soar thumb but still retains its own character. As you pass through the contemporary glass doorway you are immediately confronted by a large brick wall. However after an inspection you start to realise that this wall is a prop, that the wall doesn’t quite fit you expectations. It curls and rumples as it hits the smooth cement floor. You start to observe that the edges don’t have any depth and that there are holes riveted around the edge, which are attached with ropes to the ceiling. As I walk to inspect this theatrical backdrop you start to notice the brushmarks, and the contrived tromp l’oiel qualities. You almost miss the clown drowning in the sand vase that is placed next to this overpowering wall.

Matthew Drapers paintings are just as surreal, He is obviously interested in allied carpet rug brochures. The carpets that he paints have a chunky cartoon like quality. They occupy angles and spaces that they shouldn’t. However you perceive them in domestic scenes. But maybe you take that as given. His clunky rugs levitate in the space awkwardly fundamentally I don’t like them but I can’t specifically tell you why they entice such a reaction. I can only interpret them as objects that are too easy to create a dialogue with, I gave up too quickly.