Chandler cites Katherine Bradford as one of his inspirations: indeed, he has titled a work after her distinctive red-rimmed glasses, and adopted her best-known motif of swimmers. Bradford’s elusively anonymous figures in ‘Girl Meets Girl’, however, are engaged in more off-kilter sporting activities: what looks like assisted acrobatics, night-boat racing and a multi-cup award ceremony for the faceless. All use a recent palette of moody pinks and blues, in which the shadowless light and floating lack of perspective are more enchanted than real. Bradford is 77, but like Wylie retains a positively girlish freshness in her application of paint, which seems pretty relaxed about whether the intent of a particular mark is figurative or abstract. And though one can read psychological possibilities into her characters and their curious interactions, my sense is that – again like Wylie – the paint, rather than its narrative, is what matters most to her. Bradford favours acrylic. The fluorescent colours and watery textures suit her dreamy washes, the undercurrents of which – in her words – ‘serve as a metaphor for whatever we’re floating on, and jumping into, and traveling through’. Freud read water as the sub-conscious, and that air of mysterious inner journeying remains when Bradford’s characters reach dry land or high air.