Suzanne Smith's short films are part of an ideas-based interdisciplinary art practice that ranges from craft object to public intervention.

At once gloomy and playful, her work is something of an uptight exploration of brevity, order and inappropriateness.

Smith tends to dwell on the mundane trauma of social interaction - quietly obsessing on the line between irritation and arousal.

A seam of tension runs through the work, present in the dictation of rhythm, alphabetisation of images and the striving for manual perfection through the painstakingly handmade.

Systems both appeal and grate - sniffing out those used to oppress and concocting those to sooth. The resultant practice teeters somewhere between mismanaged exorcism and accumulations of proof.