For the inaugural show in ‘9×9×9’,

Cerith Wyn Evans partially wraps the gallery with a neon text that invites the viewer to reconsider their temporal as well as spatial situation, entitled “Beware – fresh paint” (2011). The title refers to David Hockney’s account of a dis- cussion involving Richard Hamilton and Marcel Duchamp at the ICA in London, where Duchamp was thought to have remarked that one should ‘Beware – French painting’. Hamilton eventually found out that what he had actually stated was to ‘Beware – fresh paint’. To counter and deflect the white neon, two pieces of highly polished Obsidian (a dense jet-black volcanic rock first used in Ancient Greece and South America as an early form of domestic mirror) are both wall mounted so as to echo in part the text and reaffirm the viewers’ presence. Central to the instal-lation is a cascade of seven clear crystal flutes suspended above, each emitting a single note as air flows through the mouthpiece from a wind-operated automaton. Like a magical panpipe, the instruments naturally sway in tempo with captivating compositions that resonate between harmony and discord.