There is no denying Simon Starling’s ability to tell a story; his works evoke the image of the pseudo-scientist raconteur, tweed jacket and all, explaining his latest inventions and in true Umberto Eco fashion, Starling is able to weave the most delicate of threads to present his audience with a narrative which is intricately connected, ingeniously assembled, carefully constructed and meticulously presented. There is a theatrical stage-like quality to his installations and as you approach from the foyer of the City Gallery, you are immediately asked to make some decisions in terms of where to start. There are no way-finding devices or clever prompts to guide you, and as you enter either one of the assigned ‘rooms’ you step into the magical world of Starling’s research and investigations, metaphors and symbols, double meanings and multiplicities.

His installations are traditional in the sculptural sense, three dimensional objects in the round but at times Starling steps into the role of film maker and director where the moving image is used as a technique to explain the genesis behind some of the works. These films become art works in themselves and they accompany the objects presented where they interconnect seamlessly within the larger story adding another layer to the complex narratives within Starling’s work. Film or video installations often can be a contentious medium for a gallery setting, but Starling’s ability to hold his audience through the use of the narrator’s voice, which acts as an authoritative link similar to a David Attenborough voiceover, connects the documentary with the narrative, the scientific with the fantasy, and teases his audience into his works through the universal bond of voice and language.