LONDON.- Sean Branagan’s work has a hint of the impossible, but nearly graspable about it. He doesn’t describe the world we know – i.e. he doesn’t focus on the scaffolding, in which we communally invest, through language and social order to run our lives – an approach that delivers the comforting satisfaction of affirmation and recognition. Instead he attempts to breach ‘The Real’ [1] – something that differentiates itself from what could be called ‘artificial’ to be more total, but which is certainly discernible from the imaginary and fanciful. As a vehicle for ‘time’, ‘light’ and ‘movement’ (elements as valid to his practice as more conventional ones in painting like line, form and colour) the role of the projector has been variously considered in past work. For example, it was built inside the work in the LIGHT FORMS series, it was suspended closely overhead on clamps in works like ‘Peep Show’ and ‘Where th