Emerging collectively on the wall, Licznerski (Scotland, 1987) handles, rotates, and angles stretched linen with simultaneous heavy and soft exchange. As layers in some paintings dry, others begin to surface, encouraging the progressive detachment and looseness in which he likes to work. Encounters of chaos are gradually held as complexity is resolved. Interpretation remains undefined in broad association.

Licznerski seeks division in many aspects, such as that between nature and city. It is this recurring mutation which comes through in his work and mirrors a preoccupation with duality. Often beginning with small, fast sketches on paper, these determine nothing of the end, but rather a series of entrances. The responses are then unknown as there would be too much control otherwise. Distinct and unrecognisable dialogues soon emerge. The title of the exhibition hints at the subtle distinction between perception, allusion, and reality. The sea is not black.