Ena Swansea builds her paintings up in canorous layers, combining the illusive quality of oil paint with the deadened effect of graphite. In Theory of Relativity, Swansea’s process creates an ethereal architecture. Over her dark, smothering base, each brushstroke of white paint is frozen, capturing the energy of its making. Swansea concocts a tenuous anxiety: her gestures vibrate with an unnatural light, infusing this innocuous scene of commuter travel with surreal disorientation. Dwarfed in the engulfing train carriage, Swansea’s figure is both victim and manipulator, her environment aggrandised in the hyperawareness of her own fragility.