Clare Stephenson’s sculptures are barely sculptures at all; their physical presence is a humorously humble illusion. Made from silkscreen on wooden panels, her prop-like cut-outs stand in as representations of form: completely flat-packed, cartoon-like, and slap-stick. This game of perception, of subverting material with image and vice versa, is redoubled in her work’s development process: each sculpture-image is assembled from photographs of other sculptures that have been cropped and photocopied from books. La Belle Toute Savante presents a camp model of sophistication. With a pilfered coiffure as a stole and twisted arm borrowed from ’wardrobe’, she is self-consciously dressed up in the costume of art history.