Brian Fay’s drawing practice uses different representational strategies to record, depict and present models of time and temporality using pre-existing artefacts, objects and artworks. A pre-existing artwork has a complex relationship to time, one that does not have a straight linear chronology.  It both depicts and represents the historic time in which the image has been made, the time of its reprographic production, the time depicted in the image itself, the contingent time of the image's reception, and the times and mode of its reproduction. A further temporal reading is brought when a drawing employs an intensive time consuming drawing strategy, one that establishes a direct relationship to the source material. 

This temporal complexity is further extended by acts of conservation and restoration which folds time back on the artwork itself. The sources for this exhibition come from diagnostic imaging generated for conservators and restorers. These images supposedly provide objective data to inform conservation treatment decisions.