While informed by rigorous academic training, Vivienne Binns’s Wire weave plastic mesh: a paradox of irritations painting is also resolutely accessible to the viewer. If seen from the correct distance, this work has a three-dimensional effect, like the ‘Magic Eye’ stereogram pictures popular in the 1990s. Binns created this effect by using modified painting tools more likely to be associated with crafting than traditional painting, including home-decorating foam rollers, combs fashioned from rubber squeegees and paper stencils.

As the title indicates, the work takes cues from gridded domestic materials – perhaps metal insect screens or nylon flyswatters, both pointing to potential sources of bodily annoyance. In its link to everyday materials and experiences, Wire weave plastic mesh: a paradox of irritations contributes to Binns’s broader mission to overturn what she considers outdated hierarchies of artmaking.