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Sound, both incidental and composed, underpins her works like a fourth dimension.

The exhibition features a more expansive re-interpretation of her work to date with an emphasis on works that excavate and frustrate the function and appearance of objects and materials.

If you look closely at the small drawings you will find strips of transparent cellotape, suggestive of antennae, and of rays emanating from antennae.

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With Mc Keever’s work it is the totality of the parts that is important, as she is creating an Installation which responds to the physical structure of the gallery, not only in terms of the length, breadth and height of its two main rooms (the walls the floor) but also in terms of the complicated physical construction of its ceiling.

Unlike you, the reader, this writer, at the time of writing, has not seen the Installation because it has not yet been constructed.

What he has seen are the component parts, charcoal drawings on the studio walls, sketchbook plans which may or may not be followed, smaller drawings and paintings on small pieces of dibond, and, made from the same substance, a sculptural installational piece, currently inhabiting the corridor outside of the studio, where, starting at the top of a doorframe, it bends and twists through space before diagonally thrusting downwards to the floor.

So, if the component parts both actual, and probable (what the artist is intending to do), are outlined, in a very real sense , the viewer, can peek over the artist’s shoulder and look at the creative process: you can observe how she has used the component parts, where she has put them, how she has adapted them to the physical aspects of the galleries and – if you think of the whole installation as being like a journey – how she controls the way in which you move through the galleries. Well, as currently envisaged Gallery 2, the smaller space, will have six large charcoal drawings (H 1530mm x W 1220mm)as well as a number of smaller drawings and paintings which are on dibond.I didn’t go to art college, but I did take every chance I could to join in evening classes etc.Working for over 30 years with the John Lewis Partnership in central London, I was lucky enough to tenjoy some wonderful holiday courses run by the Royal Watercolour Society.He unearthed his ancient set of oil paints, and so I started art instead of sport.It wasn’t long before I switched to watercolours: not so sticky or smelly, and much lighter to carry around.Years later, in 1985, I qualified for the Partnership’s Long Service Leave – and spent a happy six months travelling round the world, with two sketchbooks and the smallest possible set of gear - including this time a folding stool, which enables you to sketch in comfort anywhere (no easel needed, just your knees).

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