For Gordon-King, the mark is as important to the materialisation of her work as the composition. The two informing each other as constructs are put into place as distinctly sectioned areas which are then played into with spatial gestures that denote the body or past echoes of movement. Each mark is a call that conjures many synaptic responses – also marks – so that a complex tessellation occurs; one constantly calling and responding until an orchestration is realised. A surface that uncovers dissonance even as it seeks assonance.

Marks may appear compartmentalised – speaking their own language, so to speak – but it is the frisson of their dialectical thrust – their inexorable connection; the riffs off each other they generate – that fuels the flow and flux of Gordon-King’s painting.