Mary is a quiet tribute to Maryon Lane. Her movement in Kenneth Macmillan's House of Birds, a ballet shaped by fragility, instinct, and fleeting balance, holds both delicacy and resolve. The sculpture itself is small and complex in form, yet when illuminated it opens into something far more expansive. Two shadow-dancers emerge on the wall behind it, their wings half-formed, bodies suspended between ground and flight, their gestures light and attentive, as though listening to the air around them.