Four objects are depicted in the photograph, two black circles, a black ellipse and a blue panel on its side. They are in front of a grey painted background, which drops down to a horizon line where an expanse of warmer, yellower grey moves towards the viewer. This foreground proceeds as expected, containing the arrangement of objects until the flat circle unexpectedly disrupts the progression of linear space, facing us flatly, vertically within the picture plane. This is confusing because the circle immediately behind it is obeying spacial rules as we understand them — rules that we all previously agreed upon.

The rearward sphere is occupying a position in three dimensional space that feels familiar – a matte black ball lit from the right side. The shadow it casts isn’t quite proportional, it is thinner and without the form we anticipated. This is also confusing. The ellipse to the left is lying flatly on the grey ground, casting no shadow, and seemingly at odds with the circle in the foreground. The three black forms are clearly related and yet offer gently conflicting interpretations of space. Something also seems to be awry with the blue and yellow block that is positioned centrally in the image. It casts a sharp shadow to its left, it seems to occupy space, have volume, but now I’m beginning to doubt even this …

A whole thing is the third solo exhibition by Erin O’Keefe at Seventeen. In the studio she uses temporary arrangements of carved wooden objects, painted and carefully lit, to produce unique photographic works. These images engage the viewer in conversations around painting, object making and the photographic process. O’Keefe provides the viewer with a trail of clues and visual taunts, encouraging an engagement with her process and wider themes of perception and representation.