Simon Streather reviews Defining Structure exhibition at The Cello Factory:
The space of the gallery is directly addressed by Fiona Grady. On entering one is struck the patterns of coloured light falling across the room, the comparison to stained glass is obvious, however, any notion of a metaphysical structure seems quickly dismissed. The work seems to elegantly draw attention, with minimal means, to what is already present but often overlooked: the light that falls, without which no structure can be perceived. Grady has covered panes in the window with delicately coloured gels, the rectangles and triangles reflecting and dividing the frames of the panes of glass. This work seems to be all about taking what is given in order to perceive the structures that already exist. As the sun moves, the rectangles of light slowly reveal and render strange the gallery and its contents. There is a structure imposed but of the most ephemeral and temporal nature. At night the coloured light draws attention to the window from without, challenging us to see the ordinary rendered just uncanny enough to take note and look again.