Jessie Makinson’s works bounce with bumps, triggered by the enigma of the diorama she fashions to project an anonymous scene as uncanny as it is alluring, and which is amplified by a tantalising perspectival inconsistency. Makinson’s divine creatures are inspired by the exotica and erotica of Anne Serre’s The Governesses (1992): a delectable, darkly cryptic fairy tale of three young women, living in a large mansion, who are charged with the task of educating a group of boys there but, instead, linger and malinger between moments of melancholic ennui and tempestuous, ‘Saltburned’ lust.