Three neon works which were suspended from the ceiling take their form from the codified and precise movements of Japanese Noh theatre (Neon forms [after Noh I, II and III], all 2015). Relating closely to the artist’s earlier sculptures which translated diagrammatic flight paths into neon, these new works present a maze of complex lines that trace the trajectory of alignments, gestures, folds, orientations and footsteps; transposing and transforming energies into both material charge and visual form.

In another neon work, the artist draws inspiration from the mysterious tripartite radial forms of the ‘Oculist Witnesses’ that appear in Marcel Duchamp’s work The Bride Stripped Bare by Her Bachelors, Even (1915–23). Three vast discs in bright white neon recreate the forms of Duchamp’s original into ‘perversely’ three dimensional and multi-dimensional objects. Suspended from the ceiling at a skewed angle and imposing a foreshortened perspective, The Illuminating Gas…(after Oculist Witnesses), 2015, staged the exploration of established and establishing spatio-temporal regimes, creating a break in the surrounding visual field. The forms fold and mesh different figure/ground sensibilities into each other, thereby evoking hitherto unforeseen registers of perception.

Interspersed among the neon sculptures were plants placed on turntables that almost imperceptibly rotate at different velocities in different directions, their antithetical movement conjures an otherworldly presence with intimations of the occult. The notion of an otherworldly voice continued with a large sound sculpture consisting of 19 ‘breathing’ transparent glass flutes. Each flute is connected to a long tube which is suspended from the ceiling and together they form two ellipses, staggered at different heights, creating radial fan-like arcs in space, again echoing The Illuminating Gas…(after Oculist Witnesses). Mechanically operated, the flutes emit a mellifluous breath-like sound; an expansive microtonal resonance that reverberated through the exhibition.

In the corridor space closely adjoining the entrance to the exhibition, Wyn Evans reconfigured an existing ceiling light fixture to render in morse code a text outlining a narrative describing the transit of the moon creating a solar eclipse; a narrative in which language takes light for a walk.