Parallels can be drawn both explicitly and unconsciously, between forms, texture, materials, visual impact and the lingering impression left behind. Led by sight and touch, the visual and the tactile.

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Artworks have the unique power to imply or invoke connections between other artworks (when placed together or within a shared space), unrelated objects and even the intangible. These connections arise when a line is drawn and an impression is formed in the viewers mind. What traits do these artworks, created at differing points in time by different makers with different intentions, share? 

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Broadly speaking, it is the hand of the artist that connects and places even the most contrasting and thematically divergent of artworks side by side, and in certain ways on an equal plane of understanding. Whether that hand is present from start to finish, as with the marble carving of 'Mask Figure' by Michael-Francis Cartwright and the intricate Verre églomisé works of Danni Bradford or at varying but critical points as with the cast bronze sculptures of Shona Nunan and Jill Berelowitz.

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The importance rests with the presence and inflection of the artist's hand, whether implicitly and openly with the hand carving and shaping of Oliver Spendley's natural wood creations or more subtly in the scorched stainless steel sculptures of Jang Yongsun that are so finely made as to belie any presence of the artist at all.

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Connections can be forged by heart and by mind and when objects that carry the weight and associations, both present and historical, of 'art' are brought together each is elevated by the other.