the duchy is pleased to present a new solo exhibition by Glasgow-based artist Lynn Hynd. Continuing the development of printed plaster and paper work, Hynd's practice seeks to explore the complexities of language that occur through the process of 'making'.

Advancing out of a focused investigation surrounding the relationship between line and form, Hynd's practice sits within a larger dialogue between painting and sculpture, solid and void within two and three dimensions.  New plaster pieces explore the tensions between the painted surface and the inherent object-ness of the finished plaster work without ever becoming exclusively identifiable as objects, while Hynd's prints on paper investigate and develop the use of the 'structure' of the squeegeed mark as a specific structural tool, enabling a wider punctuation to occur within the linguistics of the artwork. This interest in visualising the serial, rhythm of the process embedded within the printed work contributes to a depth of enquiry to how the material and the 'act' sit together within the boundaries of artistic practice.  The material and raw processes sit on the surface of the works, agitating the operation of thought.  Focusing on an interest in the processes and operations that render form and content unstable, these latest outputs pulse within the confines of their material, technical and theoretical boundaries.

Slowing the consideration of the mark so that it does not move too quickly towards line, contour, figure or image, Hynd allows it to hesitate on the edges. The particularities of surface in her work create an imaginary space for the viewer which, to use Roland Barthes' phrase, 'garbles the chain of message, sign, gesture'.  Hynd sees the work becoming humanized within the intonation, hesitations, inflections, repetition and accumulation that occur within the materialisation of these thoughts.

As Michael Newman writes: 'Drawing, because of its status of becoming (blot becoming mark, mark becoming line, line becoming contour, contour becoming image, image becoming sign...the direction of this movement being always reversible) posits a continuum of sense, from one sense of "sense" to the other'. Within Collisions in the process of feeling obstacles, Hynd tries to catch hold of this transitional sense of becoming, arriving at a structure in which space, edge, and shape have become actual rather than depicted.