The best work is The Magician’s Assistant where we see bars of golden sunlight raking across a centrally positioned, wooden staircase

Thomson’s ‘Planète Sauvage’ series are strikingly dramatic lunar images, but spoilt by being shallow relief. Flat discs flush with the wall, devoid of mass, would have been less clunky and, if less over-elaborate in surface textures, much superior.

Yet the final experience here is so indisputably evocative, and unusual, transporting the viewer far away from the world of minerals and geological processes, that each visitor tends to experience it viscerally and instinctively, like that of privately watching a full moon on a cloudy night.

However Menzies does say she wants her audience to consider the importance of exercise-movements and their connection to ‘the physical, the mental and the spiritual’. Yet the soft light, art historical references, eroticism and movement are also of interest too – perhaps even more than the discussions of medical history mentioned in her blurbs.

These straining hefty beasts also allude to The Moment of Cubism and seem to be attacking the modernist ‘white cube’ – as exemplified by Lett’s gallery space. The revenge of the colonised?

She’s turning into a sort of Fauve Charles Tole, using a simplified cubist structure but without being overly concerned with radical spatial depth and perspective – more a Matisselike interest in shape and chromatic chords.

These are an elaboration of the earlier Attempts series, where Cullen included on the mounts captions under the image. Now however his use of language has changed.