Within a rigorous set of limitations – fields of heavy cotton rag paper, washi tape, and graphite powder – Veronica Herber explores infinite variables within the open-ended structure of the grid. Her visuality is one that eschews the easy entertainments of lavish gestures and thrumming colours, or the lure of narrative – instead she tends to and preserves those minute ruptures or tremors that trouble the ordered regularity of the grid. These arise from the fluctuating relations between hands and material, each small segment of tape being hand torn, each smudge of graphite dabbed on, in endless and subtle variations that hover precisely at the horizon between conscious deliberation and sensorial encounter.

Here, the vitality and of the relations between order and chaos show up, reminding us that the dance between mind and body, the known and the unknown, between form and matter, and even life and death, weaves the world into being and allows it to thrive.