#the casque

Her other pieces on show, Ursa Major and Ursa Minor, 2014, boast interchangeable heads. They are a jumble of folklore, myth, contemporary fashion, Velasquez paintings and the Goldilocks fairytale. Beneath the man’s starched collar is the Cross of Santiago emblazoned over by a floral Nike tick, possibly commenting on the ubiquitous nature of branding.

Their human heads can be swapped for those of glazed black bears based on 18th century English salt glaze designs found on sugar pots and milk jugs. The historical attention is driven by Partington’s vast experience of handling ceramic collections from her work at the V&A and British Museum.

There’s an eerie moment when gallerist James Freeman adjusts the heads, as we turn away and there’s a sudden rattle. Unfazed, he quips “Don’t worry, she’s just settling herself in”.

Two painters, Paula Kane and Nicolas Freytag, accompany the sculptures. Both are interested in collapsing time and place to create layered fictions that challenge historical clichés. Kane’s Arcadian landscapes take all the tropes expected in idealized rural views, the rolling hills, tricking lakes and winding paths are uncanny in their unnatural patchwork. While Freytag’s work drips with clashing references, La Vivisection ou l'Aube de la Transparence, 2014,includes a Holbein skull, Napoleonic hat, Marie Antoinette-style dress, blue rubber gloves and a bondage mask all contained within a frame on drafting film - the effect is dirty, streaky and semi transparent.

“The idea was to show artists that use historical references to create something very contemporary,” explains James. “Work that reminds us any human achievement is a combination between high aspirations and base desires.”