David Lindberg works are seemingly bathed in transparent materials as though to fix their very complexity and allow us to examine them like flies in amber. But this is a very treacherous transparency for it is in itself part of the complexity of the works. The placing and juxtaposition of the materials is very precise and calculated, though this is the kind of calculation that comes about during the creation of the work and as a result of its very creation, not of pedantic advanceplanning, of leaving no room for serendipity. But the transparency shades and blends into all this, and plays a very ambiguous game. On the one hand it is cool and distancing, and yet on the other hand the works are also undeniably beguiling and seductive, even sexual, and this too results from the transparent textures. And it is here that the transparency reveals its treachery or, rather, its double game: for it seems not so much applied to the works as exuded by them. And the result is that such materials as fibreglass or epoxy resin become natural and organic, and the works are almost disconcertingly alive.