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otting Hill's Muse Gallery offered the opportunity to see a remarkable group of paintings in London for the first time. 'Unseen', until then, because they were excluded from an exhibition hosted by a City institution, in 2015, in a bizarre act of censorship that was later reported in Private Eye Magazine. 'Unseen', also, in the sense that they are a semi-fictional take on London. Imagery is often plundered from the past to inform the present. So anything from a small terracotta maquette to a monumental Canova sculpture might materialise in unexpected places like London's Embankment or the riverside adjacent to the City. There are rarely specific stories in these paintings however, so the spectator is left to wonder at their enigmatic quality, curious juxtapositions, and engaging blend of fact and fiction. Innovative spatially as well, their perspective varies from conventional to 'mirror image'. Often bathed in strong light and deep shadow, they always have an evocative quality and vary in mood from playful to unsettling.

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