Sorcha Dallas

Don’t be fooled by the title, which instantly call to mind sublime Swedish pop and maybe makes you think that Gothe is another artist keen on melding high theory to low culture. Gothe conjures something else entirely: not so much the mirror every budding pop star practices in front of as the shattered remains of one that contains ghosts aplenty.

The three works in this solo show ask questions of each other, and themselves. Sana Sommeil is a wall-mounted wardrobe, black and rich in Gothic decorative flourishes, with its mirrored front panels removed; inside, geometric paper sculptures reflect light, casting shadows upon each other. Their formal strictness- all those clean lines- is in contrast to their seemingly haphazard shapes; it’s like some cubist rendition of cracked glass.

Dong, meanwhile (you ache to add an explanation to that title), presents you with your own reflection: the self, almost, but also the other- a reversed you, on a black surface. Smashing- a mirror surrounded (or constricted) by a sprawling metal frame- dominates the room and hints at violence, at destruction, the black geometric shape on the mirror’s surface suggesting that this mirror’s fate has already been sealed- though Gothe, like Richard Wilson (whose 20:50 used sump oil as a black mirror) knows that the dark reflects every bit as much as the light.