Moving away from the classically derived pot, plate and urn forms that have characterised his work, in Tin feathers metal wings Edward Eberle reassembles the deconstructed elements of a vessel, painting and drawing figures on its surfaces in a dense, black terra sigillata slip. The tension between the loose patterns and shapes that comprise the structure and decoration of this work differentiates two realms: the representational and metaphorical, and the abstract and symbolic. Eberle’s work draws from the language of classical Greek ceramics and their implied relationship between figural imagery and form; his vessels become tableaux in which a variety of human figure types and characters play out a linear drama. In this work he has torn the vessel apart and reconstructed it with a looseness and vigour that energises the figures painted on it. The nature of duality that is explored in Eberle’s storytelling thus becomes more complex and multi-layered as a result of this intervention into the form.