McWilliam turned to the theme of legs after a period of more or less representational sculpture in the early 'seventies when he had worked on the 'Women of Belfast' and 'Banners' series, both of which had elements of direct political reference. The 'Legs' sculptures mark a return to a more playful and paradoxical imagery, and take both the idea of the complete fragment, and of the eliminated torso, as the basis for a series of unexpected and idiosyncratic improvisations

Sculpture 4 alludes to a fragment of Greek and Roman sculpture yet here Hume plays with the conventions of monumental marble sculpture with his hallmark bright, glossy paint charging the sculpture with emotion and a sense of latent movement. The limbs, though disembodied, maintain a sleek and sensual quality and encourage the viewer to walk around the sculpture, viewing it in the round.

Diorama SS.7.67 is a record of a meticulously planned performance, with its subject becoming the act of painting itself.

The work comes from a pivotal time in Ian Stephenson’s practice, when he developed a process nearly as absorbing as its outcome; a methodical equation of applying paint to canvas by flicking in precise sequences. Diorama SS.7.67 is made up of two canvases, both almost identical in appearance but with one rotated 180 degrees. Stephenson moved around each canvas with metronomic regularity; measuring his steps and repeating the exact same paces around each canvas on the floor. Layering paint, dots covering dots to create an infinite, burning red expanse akin to stars in a galaxy.

Jacob van der Beugel's work interprets human identity and DNA, fusing materials to bridge the divide between science and art. De-polariszumab 3 seeks to mirror the polarisation that van der Beugel believes now embodies contemporary life. The black and white at the extremities of the form warm into colour in the middle ground.