Whitelock will be exhibiting a new series of charcoal drawings and paintings. They depict clusters and crowds of human limbs tangled in classical columns and trinkets. Whitelock’s black and white images and Kester’s raw, seemingly weathered sculptures appear at once expedient and historical. The sculptures clearly expose the hand of the artist; the thumb dips and fingerprints are the flares of a nostril or the cupid's bow lip, and they require constant dampening to prevent their shrinkage. While Whitelock brings the human body and the things we can hold in our hands (weaponry? a jewelry box, a talisman) into a dense and illustrative composition which resembles an archaeological site, Kester’s work seems disembodied – gleaned from a muddy bank.

Despite the scientific explanation, the phenomenon at the Petrifying Well remains mysterious. Once said to be cursed by the devil, the well is a site where enigma, geology and myth co-exist. A similar sense of foreboding but also familiarity lingers amid this exhibition. Kester’s sculptures are unglazed and almost goblin-like – distorted facial features and expressions reveal themselves slowly to us, on closer, longer inspection. An otherworldly ecosystem seems to have engulfed them and they are only just surviving here. In this way, Whitelock and Kester both exploit a bodily connection to objects which is mythical and earthly. Bound up in legends of the domestic and the wild.