Nat Goodden’s new installation at Matt's Gallery is entitled PARALLAX. The gallery's familiar approach via the outside iron-work stairway has been in effect extended inside, leading visitors to a viewing-platform built among the girders of the roof. From here (the view is blocked at ground-level), the gallery's main volume can be seen to have been intersected by a network of panels, itself cut away to cradle a great cavity, a mysterious presence (or absence) in full field of view.

The work has been inspired by thoughts and memories of particular sites and structures encountered over the years, places and spaces of public or private engagement; the moulds and methods of a travelling bell-founder, the hollowed instrument-structures of Jai Singh, the fall of light and numinous presence of an abandoned synagogue, to mention only three. But it is also a response to experiences arising from various aspects of the gallery's forceful architecture, such as the slanting view from the roofspace and the airy well revealed below.

Parallax is all about the activities and involvements of looking. Operating around two poles, the installed and the human, it focuses particularly on the intervening space and the energies that are projected across it. Conventionally, the term 'parallax' is used to suggest a phenomenon that is primarily sensory: the double-ended and shifting relations of viewed and viewer. Nat Goodden's new work looks at the way these complex systems of connectivity extend equally into a sentient and perhaps social domain.