The idea of ‘paper architecture’ – a term often used pejoratively to describe building projects too ambitious to exist anywhere but on the page – might best characterize the work of Daniel Kelly, with all the flawed intent and thwarted hopes the term implies. Kelly’s wall-based paper works evoke interiors through fragmentary allusion: a stump of column here, a slice of ceiling there. Collaged in slices that curl at the edges, Kelly’s works flaunt impermanence, sliding to the floor in a performance of failure, a loss of confidence made material. In I see it all now… Some of it!, the comic self-deprecation of the title is borne out in shards of painted paper that never quite lock into place, overstepping spatial order to indicate a wilful diversity of origin.