Like showrooms, it is as if these rooms were designed for nothing to happen in them. But like showrooms there is also something creepy here. This eiry calm seems more than wishfull thinking and less than fact. It is the paintings' dilerious or pharmacodynamic aspect. It is what makes them wierd.
Lets try and be more precise.
This stillness is more than emptiness, as if these rooms contained a presence not from the outside as an intruder, but which was the very exterior quality of their own pregnant pause. A pure potentiality, a very suburban excess creating a reality no longer real or unreal but judged according to the flexible criteria of the hallucination. We don't know where it comes from, or what it's done. It's hallucinatory and uncanny character is to escape determination, but to exist all the same. The imperitive of Arkley's paintings is to follow in the wake of their fluidity, to go trippin'.