Ben Johnson's first love is architecture and his first heartbreak was to be seen by architects as a mere perspectivist.

He fought that label by thransferring the focus of his gaze onto objects. There is a sense of impending death in the closed world of his Experimental Baffle Plates on Number 3 Lift Gate, particularly from someone who aspires to painting light and space.

Ben Johnson's panoramas of cities came as a breakthrough: soaring high above the buildings, like a bird, he re-ordered and painted the city. The pristine qualities of each building are extracted from the original photographic survey and the final vision that emerges is real but idealised; it shines for all to see. Jerusalem, shown in the exhibition in an Iris print rreproduction, is a culminating example of this newly found harmony.