The second chapter in Saatchi’s story of emerging British artists opened this week.  If there is a theme, it would appear to be the use of several media in the works, both paintings on the wall and sculpture.

One of the things that Saatchi exhibitions do well within these fine rooms is mix floor-standing sculpture with paintings or photographs hanging on the wall and this exhibition is no exception.  Nick Evan’s sculpture in plaster, wood and board have echos of Henry Moore and act as a good foil to Dan Rees’ works made of plasticine on wood and Tim Gidley’s paintings with ceramic.  Similarly, Finbar Ward.s tomb-like chambers work well as do Kate Hawkins rather spindly works.  Best of all, however, is the combination of Virgille Ittah’s white sculptures as they melt into the floor against the faded images created by Martine Poppe; together they create a chapel-like atmosphere; a place of reverence for what has been.

Martin Coomer, writing in Time Out sums up: “This may not be the shoutiest bunch of Brit artists ever but their focus on flux feels fresh. Call it uncertain art for uncertain times.”