What of ‘Girl Now meets Girl Then’ meets gender-queer/non-binary boi? Caroline Wells Chandler, who identifies himself in those terms, admires Rose for ‘making art that explores pre-cultural programming with a strong drawing hand that can only come from the artist’ and suggests that ‘ultimately Rose’s paintings are about freedom’.  There’s plenty of freedom in his own work, which he describes as tackling themes of ‘community, belonging, the spiritual, and in-betweenness’. Chandler queers art history as he turns the straight, masculine tradition of painting into ambiguously-gendered figures made with the ‘women’s craft’ of crochet. Neon-bright figures cavort across the walls with a lack of concern for whether they are male or female, what race they are, or even whether they are human. A yellow frontal zip shape might be penile or vaginal, for instance; skin and hair can be any colour; and cartoons, robots and computer game graphics are all in play. And the process of crochet, literally involves the twisting and crossing of lines - appropriate for the glee with which Chandler sets about scrambling the expectations of the heteronormative gaze. It may be, as he says, that ‘to be happily, proudly, and freely queer is a radical triumph’ – which is to say we haven’t yet reached a new normal – but the sense is that we’ve got far enough to celebrate.