Everything turns to dust: there are many ways to misunderstand entropy. Drew piles up charred and stained wood boards as though to assemble a mountain. Then he does it some more, all the while claiming that this toil finds its own meaning.

That it would is a contradiction in terms. If it does, it’s not in the gallery and not for the viewer. The stack-it-high excess of Drew’s installation aims for spectacle, but its matter is too predetermined to spark revelation. Its smells and textures, likewise, are too obvious and too done already to deceive the senses into oblivion.

The whole get-up’s a ruse, anyhow: a parallel show in the artist’s commercial gallery revealed that the disorder of Drew’s installation work is a side-hustle to cutesy colour-coord grids. It’d take some grand physics to turn the two projects into a before-and-after cartoon strip.