Stapleton’s varied practice (including painting and sculpture) is bound by a concern with elucidating various phases of the fictive, the apparent and the real. His And A Door Opened assemblages, holding in equilibrium the fantastical with the blunt actualities of junk, exemplify this in their reordering of things known, producing new and surprising value out of meagre means. The red-black glow emanating from the dark vitrines, reminiscent of photographic darkrooms, gives the effect of an image half-developed, caught between latency and realisation.

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