This exhibition brings together the work of Mark McClure, Katy Binks and Matt Dosa, three practices rooted in abstraction, each negotiating the relationship between control and disruption. Taking its name from a term coined by Michael Shermer in 2008, Patternicity refers to the tendency to identify structure and meaning within visual noise. Across the exhibition, pattern is formed, tested and disrupted in distinct ways, each shaped by material and a distinct approach to colour. Through their processes, the artists negotiate a shared territory between order and instability.

McClure’s work operates through systems. Trained as a graphic designer, he draws on the visual language of the built environment, including structures and spatial order. His compositions are architectural, treating form as a framework: a set of rules that are established and then challenged, through which visual logic and colour relationships are developed. For this exhibition, McClure presents mosaic works constructed from individually painted wooden segments, alongside a new series of sculptural concrete objects that extend these systems into three dimensions.

Binks approaches abstraction through surface and process. A printmaker and painter whose bold, exuberant practice spans silkscreen, mural and installation, her works resist uniformity and instead embrace variation, layering and the physicality of making. By building and layering patterns through systems of her own devising, Binks rejects traditional notions of repetition and order within printmaking. Colour is not purely decorative but structural, with layered surfaces producing subtle shifts in tone and visual rhythm, and the resolution of each work remaining open and contingent.

Dosa builds his paintings through layers of spray paint, ink and acrylic. A painter rooted in graffiti culture, his saturated colour carries an instinctive quality, accumulated through each layer rather than planned from the outset. Working within a hard-edge vocabulary, his compositions appear controlled at a distance. On closer inspection, however, instability emerges: paint has bled, texture has transferred, the residue of tape remains. Edges shift, surfaces carry the evidence of their making, and the hand reasserts itself against geometric order.

Across the exhibition, abstraction is not treated as a fixed language but as a site of negotiation. Systems are constructed, surfaces are tested and control is repeatedly interrupted. Each artist brings a sustained engagement with large-scale public mural-making, and a shared sensitivity to colour and urban rhythm runs through the works on show. To mark the exhibition, Binks, Dosa and McClure have created a site-specific collaborative mural for the gallery window. Extending the exhibition outward into the city, it brings their individual approaches into direct dialogue.