The ground floor gallery had been transformed by an installation made from planks of whitewood which flexed against the gallery walls. The wood was held in place by its own tension, created an acrobatic and elegant bow where it reached the ceiling. Through this bending and stretching the sculpture broke the linearity of the surrounding architecture, escaped from it but also worked within its boundaries.

In the lower ground floor gallery three open-ended rectangular wooden boxes were suspended from the ceiling by single looped cords, formed a constantly shifting cluster. These long boxes, made with the remaining whitewood from the ground floor installation, encouraged the viewer to pause, perhaps peered through the open side, or whispered to someone at the other end. Appearing like an over-sized mobile, the oblong boxes interacted with each other, slowly shifting and swinging in what appeared to be a constant search for the perfect balance.

A third sculpture also made from whitewood which had been interwoven and stacked together, had been created for the smaller lower ground floor gallery. Unfolding and extending from the corner of the space, the planks of whitewood feel almost elastic as they naturally deflected off the walls, as if wanting to escaped a gravitational pull.

Overton’s sculptures are able to phenomenologically transform a space, while still retaining traces of their original use. Although they relate to minimalism, they complicate any suggestion of material essentialism by problematising notions of use and commodity value.

A fully illustrated catalogue with an interview with Lisa Le Feuvre was published to mark the exhibition.