In Acids, Deshayes places framed sections of vacuum formed plastic on sheets of anodized aluminium. The aluminium, apparently stained with blanched purples, greens and ochres, recalls the sloshed skeins of abstract colour in a Rothko painting, here generated through the chemical activity of the metal, not the individual gesture of the artist. The plastic – mottled and creased like elderly skin – seems both churning with motion and frozen, stilled. Industrially produced, physically distant from the artist, Deshayes’ works still can’t help recall the human body, its frailties and residues.