A close study of Patrick Larmour's screwed up paintings will reveal that these were competent completed works that appear to have been destroyed before exhibition. A little more research will also reveal that the patterns so beautifully rendered on the canvas are those of his distinguishing shirts (or sometimes those of his friends). Thus they convey aspects of self reflection and a mood of sadness. Larmour’s work is often characterised by a sharp melancholy that in these works has been further sharpened by his attentiveness to what has apparently been discarded. Although he does not consider the work to be sculptural the process of destruction is actually a method of creation. As the paintings become three-dimensional each fold and twist is that of the artist’s hand, or more precisely, a problematic collaboration between mind and body. At this point the “experimental” gives way to the metaphorical, whereby the frame rejects its role as a support and stands for the artist’s body – flawed, fragile, unreliable and unpredictable.