Hurvin Anderson’s paintings flirt between abstraction and figuration, their tranquil scenes merging unstable ideas of memory, conjoined histories, and cross-culturalism. Peter’s Sitter’s 3 imagines a home barbershop, a cottage industry taken up by many newly arrived Caribbean immigrants in the 1950s. Rendered in a reduced palette of blue, white, and red, the scene conveys the experience of freshly acquired British identity, its aspirations and hard realities. The brilliant tones and translucent veneers of the floor and ceiling hark to the open expanse of tropical seaside, while the opaque geometric walls and modest furnishings create a rigidly grounded environment, conveying a sense of disorientation and displacement.