Inspired by transcendental philosophy and the timeless romanticism of myth, Hosking’s works are conceived as liminal fields: metaphysical dimensions in between cognition and unconsciousness, physical and ephemeral, positive and negative, time and space. From the poetic austerity of his paintings to his sophisticated video and light installations, the notions of surface (its inherent duality and hidden depths) and perception are crucial. Whether canvas or screen, Hosking’s two dimensional platforms become site-specific terrains of wonder and contemplation: provocations where binary opposites conjoin and merge sensuously through formal construction. Themes of masculinity and femininity run harmoniously throughout Hosking’s new works in their powerful meditative tensions.

Central to the exhibition is Hosking’s pivotal film installation Galatea, titled after Pygmalion’s famous sculpture-come-to-life. Projected onto a black velvet screen – a recurring device in Hosking’s work, symbolic of a masculine sense of freedom – Galatea poses 90 minutes of unedited footage of Harumi Klossowska, Balthus’ daughter, sitting in a garden: a living legend/sculpture/painting. It’s only the subtle shifts in light or momentary fluctuations of breeze in Klossowska’s chosen feminine surrounds that interrupt the guise of artifice;