Though the works on view at the gallery are only fragments of a much larger story (which the artist is far from completing), they coalesce into an evocative vision of a city in the process of regeneration. Among what Ingleby characterizes as the “diverse and wonderful things” on show are “several jars of Henderson’s eggs, the ‘ruinously addictive’ gin-pickled snack to which so many of the Island's ne'er-do-wells are addicted.” We see what appear to be some of Onomatopoeia’s more upstanding citizens in Avery’s drawings. These feature, for example, a group of men and women surrounding a giant eel on a polluted-looking shoreline; a motley crowd of residents lounging by an eel-choked pool; and a young, hip couple, described as “followers of Knot Faah.” What “Knot Faah” refers to—a cult leader, a god, a life philosophy—is left for viewers to guess.
Among Ingleby’s favorite works in this iteration of Avery’s unfolding epic is a drawing, Untitled (Two Guys in Boat Approaching Quayside) (2015). Beyond its intriguing narrative and elegant execution, Ingleby sees in it the spirit of the artist’s singular enterprise. “It’s a great drawing,” he explains, “but it also suggests an energy behind the Islanders project, which surprises even its creator.”