A virtuosic example of the astonishing plasticity of oil paint and the artist’s thrill in the making, Toren Schvantzi’s contribution to Urge Ourselves Under tempers her trademark fixation on a single image with a new level of maturity and control.

Warren Carvery’s collaged industrial aesthetic was initially motivated by his distrust of digital manipulation and its liberating absence of accountability. Whereas Thomas Meissner’s handling of the male figure in his large-scale oil canvases could be said to fetishise the breakdown of the academic form.

Adrian Lee’s recent environment Island evokes both the sickly-sweet fug of the tropics and the forgotten corporate corner of a head office feeling the crunch.

Here you can express yourself. (*required)