Max Dewdney’s first solo exhibition, ‘Incomplete House’ presents the viewer with a hybrid architectural environment and a visual discourse.  It draws on a number of related sources, most specifically the myth of Orpheus.  The myth is reread through Jean Cocteau’s 1948 film 'Orphee', and the paintings of Giorigo De Chirico.  The relationship Dewdney postulates between objects and characters opens the rational designed world to the realm of the psychological and the unconscious.

The exhibition consists of five scale models from the Incomplete House project.  The house was designed for two couples who inhabit and see it in different ways.  There is a dresser with a two way mirror out of which steam rises.  Low level lamps illuminate a table made of wax with a frozen surface.  A window and table revolve around a bed within a room.  Incomplete House, is installed in a way that forms a dialogue with the unique space of Dilston Grove, former Clare College Mission Church.  The building designed by architects Sir John Simpson and Maxwell Ayrton as one of the earliest examples of poured concrete construction and is currently Grade II listed.