Self-described “compulsive clay-worker”, Hennie Meyer has exhibited prolifically around the world and is one of South Africa’s most experimental and influential ceramic artists. He spent his childhood years in KwaZulu-Natal and has trained both in Australia and South Africa, developing a practice of warm earthenware and new-skin glazes. Untitled and without the promise of function, the artist’s recent experimental series is a city of things to do with one’s hands: each earthenware form is exactly 400g. This is the defining parameter – beyond it, the scope extends anywhere. This body of work emerges as a meditation on the limits of things, and the limits as a frame for invention. The material rule-set of weight, glaze and medium permits an imaginative expansion through the 400g cubic edge. Repeated and repeated, the white cube stretches into the form that rises: a re-dreamed chess set, a specimen of sorts, a curious piece of white liquorice. These artworks are a nod towards the shared material origins of all things. Granted the same starting point, each form held up on the same ceramic plinth, a materially situated equality is imaged. But equality is not sameness. In a career-defining concern for the role of the individual in the collective, this 400g series both echoes and stands in contrast to Meyer’s previous work, the functional and installation-based.