If the church is a display of God’s glory, Pitchpole is a display of conceptual art’s glory. Poetry by Erin Langille (acting as a psalm), Pitchpole (the hymn), jewellery by Shaya Ishaq (the relic), a sturdy set of speakers (the organ), and Ader (the saint). Does it matter that we don’t know the story of Ader and his ill-fated journey, or the many legends that have surrounded him since? Or is Ader's story simply Robinson’s invitation to work through whatever unfinished grief we hold in the cathedral of the contemporary art gallery?

Hooper writes, “I walked out of my studio one day and was overwhelmed by the complexity of it all.” This complexity is what she investigates through her drawings, be it the complexity of a landscape, a human being, an idea, or the world at large. This process is further illustrated through the inclusion in the exhibition of many of her rough drafts and sketchbooks. Flipping through these jumbles of drawing and poetry, sketches and snippets of prose, one can imagine Hooper sitting at her desk in her studio, creating on the fly.

“What I find inspiring is looking at my many different interests and finding ways of linking them together and creating, like, a mapping of my interests, and threading disparate sources of inspiration, and then creating projects out of those inspirations,” Gallagher says.