In One Off The Bunch, a banana man seems frozen in a spotlight, ostensibly caught stealing a banana from a large bowl of fruit in the foreground; in Peeley Wally, his two banana arms wiggle, his mouth wrinkling in anxiety. Allan’s characters may be proxies for the artist himself; like Philip Guston’s Ku Klux Klan self-portraits, an acknowledged influence on the artist, this is the artist as a sad clown in a floppy hat. Even when the banana characters dance – in We’re All In This Together, a rueful allusion to contemporary politics – they’re spindly, weakened, cheered on by a stopwatch that gleefully awaits their demise.

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