Salthouse 05

Salthouse Church

> Salthouse Church

Enjoyable, eclectic and occasionally eccentric . . . just what I've come to expect from this excellent project.

The relation of artwork to the fabric of the church is at times integral, for example Joanna Chapman's work relies on the barely discernable interplay of threads and tissue between the decorative Things Seen and utility Things Unseen.

The soft browns and beiges of Ross Loveday's Storm Warning blends with the interior palette of the church to such an extent that the ferocity of the weather seems diffused. Responding to the architecture of the building, Dominique Rey's glass tower Dans l'mesme Pitchet, is etched with boats reflecting graffiti carvings in the choir.

Irrigating the pain of the past from the very foundations, Cabinet of Tears by Lee Ash & Linda Roast is particularly profound.

Not all site-specific stuff works and although Andrew Schumann's fibre rods soar into the nave, the beads and solitary bauble are ineffectual.

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Alison Hall's canvas observations of circular walk No 58 are pleasingly divided to provide scenic insight, whilst importantly retaining integrity as a whole. Taking inspiration from archive photos Elizabeth Peers uses a soundtrack in Salthouse People II to invoke the past.

I'm spared the task of heaping scorn on Linda Roast's painting Lionel, for she confesses an intent to self-ridicule. But I must congratulate Sally Lawford on the acquisition of her Girl Guide sewing badge and point out to Sheila Middleton that her canvases are markedly less useful than chequered tablecloths.

I was also perplexed by Sam Avery's doodles, which seemed symptomatic of an unhealthy morbid obsession. Equally ominous is the deathknell soundtrack in Thor Adam Godall's Stigmata Martyr, the fragmenting crucifix relying on effects stolen from a PlayStation.

There's lots to interest the bookish among you and plenty inspired by ritual and offering. Sadly, bad weather deterred me from braving the delights in the churchyard.

t Until August 7.

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