The main point though of Hartigan’s neon work is his love of chroma, the delight he has in manipulating intensely bright, coloured line. While these are also sculptures that provide spatial pleasures for those keen to look at them from different angles, the physicality of this sometimes intensely saturated, linear light provides wonder, even though neon now is dated technology.

Designed I think to make you irritated and groan, it has a sound track that in contrast is quite gorgeous, espousing the natural world outside the gallery through the recorded clicks and whirrs of what sounds to me like a flock of starlings.

That’s the wonderful thing about these projects, that nursery-tales, old movies, inner anxieties and prosaic imagery all get jumbled up together.

These gorgeous surfaces evoke the Sublime and force your eye to rush to the ceiling and its corners, seeking out strategically positioned, negatively-shaped drip-free zones that allow planar respite.

Though an obvious reference to the transience of existence, her fleeting portraits and figures also alluded to the fortunes of the planet, grim augurs for our species’ future.

…you can tell Todd has had fun picking out accoutrements like gorgeous silk ties and heavy shirt fabrics. She seems to enjoy the sensuality of these materials, almost for their own sake and not for sociological coding.

It is an interesting show because it allows Clifford to play with certain slippages of meaning, to calculatedly revel in ambiguities not present in some works when they were initially created (outside the electrical context) but present now.