Psychich Sculpture by Shaun Gough is a process piece involving toxic ingredients such as polyurethane foam and rubber cement. To aid with the creative process, the artist seeks advice from the popular telephone service Jojo's Psychic Alliance for $5/min. The resulting amorphous sculpture is oddly reminiscent of photographs of ectoplasm popular in turn-of-the-century theosophical circles, while also bearing resemblance to a large tumour. In terms of the materials he has chosen to work with, the piece relates to Gough's 1993 series Chemical Paintings, a post minimalist body of work involving a 'collapsed' representational strategy allowing the physical properties of various chemical compounds to play themselves out on stretched canvases.

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Six Pints of Guinness is a sampling from Greg Forrests's 1995 MFA thesis exhibition 30. The pieces consist of immaculately finished carved wood representations not of actual glasses of beer, but of the image from the Guiness advertisement Why irish Eyes are Smiling. In the catalogue to the exhibition Object Lessons (Art Gallery of Nova Scotia, 1995), Robin Metcalfe describes Forrests's work in terms of the cargy cults of the Pacific Islands. Confrnted with western technology, the islanders built replicas of airplanes and other machines out of twigs in the hope of attracting and gaining posession of them. Forrest's work can be seen as both a critique of the cargo cult principle in advertising (if you buy this product you can attract the desired lifestyle), and an example of contemporary cargo cult practice, wish fulfillment on the part of the artist.

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1,000 Cast Iron Hits by Kely Mark is a recent work embodying the intense physicality, controlled violence, and minimal elegance that is typical for much of this artist's work. Mark literally turns her materials against themselves in her Hits series, and the resulting pieces bear the scars of the uniquely self-contained damage she has inflicted upon them. Each of the two pieces of cast iron in this work is both instrument and resipient of the 1,000 hits mentioned in the title. There is a particularly hard-hitting pathos in the resulting status of both victim and perpetrator assumed by these two formally identical pieces of iron, and it is this 'identity' in particular which is at the root of the enigma embodied ba the piece. In all its apparent simplicity, this is a work of endless paradoxes, achieving profound poignancy with the most unsentimental means.

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