Displayed on the gallery’s first floor are several new swiped works, which are produced by a physical gesture in space; Lawler uses long exposures and swift camera movements to create abstract images of well-known motifs. Frozen yet moving, they become transcendent images that perpetually blur and shift, taking her longstanding investigation into the making and viewing of meaning still further.

Their subtitles, “swiped,” might be a humorous comment on the artist’s practice of capturing the works of others whilst further evoking the contemporary consumption of digital pictures on our screens – perhaps speaking to the feelings of loss of focus and clarity under the constant exposure to a deluge of pictures.

For her adjusted-to-fit works, she re-presents the original image by permitting it to be digitally altered for each installation, stretching it to match the aspect ratio of a given wall. Its shape, size and position are out of the artist’s hands and are determined instead by the institution or collector displaying them, indicating the numerous influences on the procedures of presentation and reception.

Bringing together pieces that are connected by varying degrees of analogue and digital movement, confusion and reversal, the show turns viewers’ heads in multiple directions. Exploring the artist’s role, Lawler, at times, confounds our understanding of authorship and questions how we look at works of art, how they come to have meaning, the desires invested in these objects, their interactions and their temporality.