The works by the two exhibiting artists in combination create a very effective installation in the gallery spaces. The essentially black and white (and shades thereof) palette is beautifully modulated. This accompanied by the varieties of contrasts in materials and forms offers an interplay of spatial, aesthetic and conceptual relationships that is especially visually attractive and intellectually challenging.

Gabrielle Soulsby uses the human figure as the base from which to explore the nature of not only physical existence but also those areas of human activity that are not so easily visualised. The "spaces" beyond the physical self are what concerns her, those "spaces" that while often perceived as intangible contribute to the overall physical and spiritual make-up of each of us.

The artist's rendering of the human figure is ambiguous. She plays with the visual interrelationships between the real and the abstract so that viewers are not "directed" but offered choices in the ways they might read the marks the artist places on the paper. Her figures are faceless, composed of partial bodies or torsos, intimated rather than delineated. This "partialness" is cleverly controlled by Soulsby and further underscored by her paring back the surfaces almost in some instances to the paper. This minimalising imbues the "figures" with a feeling of their being disembodied or at least not fully disclosed, a revelatory ploy that introduces the notion of the doppelganger that is a hidden part of each of us.

Soulsby's formal repertoire is deliberately limited, a device that invests each element with its utmost expressive potential. Simple tools such as the inclusion of a cleverly placed dense black line infer the existence of a human form.

In Muse (2015). for example, the artist places a single sinuous line running from the top to the bottom of the image on the left-hand edge. The line sits on top of a headless figure composed of scratched circular lines in varying shades of black. The figure's corporeality is (once again) present but it is barely there and its transparency adds a powerful feeling of mystery, a sense of being removed from reality. In the same work the dense black line appears dropping from the top right-hand edge in a sort of looped formation. It sits above a number of forms whose varying tonal intensities create spatial depth. Their position in relation to the form at the left, as well as their gesture towards bodily reality (Are they legs, arms, torso?) establishes a lyrical spatial rhythm that enlivens this work with dance-like movement. The latter is indeed a feature of much of Soulsby's work and the overall installation of her pieces reinforces this.

The internal formal and thematic relationships are extended through the whole of the gallery space and arguably summed up in Tract (2015) a 15-panel piece displayed in the small back gallery. This work is full of visual ambiguity and plays between the real and the abstract, the human, the natural and the metaphysical. While each panel may be seen as aesthetically and conceptually autonomous their combination offers a powerful statement.

Leonie Gill's sculptures are provided with an accommodating ambience by Soulsby's drawings. Both are characterised by an enthralling use of ambiguity both visually and thematically that posits their exhibitions as intense, interrogative and aesthetically seductive.

Like Soulsby, Gill demonstrates her understanding of the qualities of surface. Her materials, variously wax, cement, copper, aluminium and wood, are aligned in a number of combinations (but importantly with wax present in each) that celebrate through sensitive modulations and control, the different textures and the rightness of these differences when combined.

The majority of her forms are simple and strong. Mostly verticals, her attenuated works (for example, Coalesce I, II and III, all 2015) sit in the gallery space in dynamically defiant upward thrusts. The example of Brancusi's Birds is difficult to deny, but where the "birds" present as perfectly formed and smoothly textured, Gill's pieces assert possibilities for change, movement and the presence of immanent disintegration. As I stated above the use of ambiguity by both artists is one of the unifying components of these two exhibitions. Gill's ambiguity lies in her choice of materials and the formal combinations of these.

In Coalesce I a metal rod wrapped in a covering of wax sits on a concrete base. The geometric linearity and rigidity of the metal is contrasted with the organic flow of the wax. The latter acts almost like leaves unfolding as a flower emerges from its protective embrace and such a reading is purposefully present. The wax can also be read as a more malign presence whose flowing movement will eventually swallow the metal road in its folds. The admixture of the organic (wax) and the artificial (metal) is perhaps symbolic of the coexistence of the natural and human worlds or more simply an expression of the changes that are integral to our existence. Meaning is not defined but possibilities for multiple meanings and concomitant questions are positively infused into these works.

Visually the vertical pieces are for me the most successful of Gill's creations. They hold a powerful physical presence in the gallery and as foils to Soulsby's drawings, act as perfect complements. These exhibitions are excellent companions, each underscoring the other's imaginative and conceptual bases. The artist's astute understanding of the thematic and formal strength of the intelligent aesthetic possibilities of the use of ambiguity is beautifully demonstrated in both bodies of work.