Ceramics

"Elsewhere, slender ceramic figures are gathered like pawns on a chessboard, though here they are more crowded, more claustrophobic, not helped by the cages covering their heads. What are we to make of these structures? Devices for trapping fruit-eating pests, or part of a wider system of confinement, of lives hemmed into structures larger than themselves."

"This love has a toxic edge. It's as damaging as it is nurturing, as painful as it is essential. Not because their love is unique, but because Mendick has realised that's just what love is."

"This is such an unsettling, threatening exhibition, helped no end by the weird ambient soundtrack, which makes you feel like you're about to be pounced on by some mythical beast in a deep dark forest. There's a sense here of ancient rites seen through the lens of 1960s hippy love, and churned through the mill of millennial malaise. It's as if the Wicker Man wasn't set on an island off the coast of north-west Scotland, but in early 2000s semi-rural Kent."

"After centuries of colonialism and exploitation, there's just so much anger and pain here. This show isn't just about the earth and memory, this is art as a form of aesthetic resistance. It's hard not to see these ideas of stolen land and colonialism through the lens of Trump's regime with its ICE raids and travel bans."