The distance of doubt

‘What’s the point of that’, exclaims one of four friends gathered in front of a framed watercolour floor plan that depicts only half the room they are in. Comforted by the unity of communal indignation, the others eagerly launch into their favourite topic: their card-carrying doubt of contemporary art.

At last, the tea tray arrives. The friends sit back with a cup in hand to allow, with each sip, their troubles to ebb and their being to revive—when a silent realignment transpires. For with eyes wide as though previously blind, they now see the floor plan’s other half: so deep, before, was their doubt without cause.

[flootplan details]

  • watercolour floor plan of half the room
  • chairs
  • table
  • Missing book
  • rug
  • entrance
  • stairs
  • stares
  • Did you see the Missing book on the table?
  • Yes. Inside, I’m told, there’s an encyclopaedia of doubt in art worth reading.
  • I doubt it.
  • I doubt it too.
  • floor plan of the other half of the room
  • tea tray
  • exit 



Qty ID Medium HxWxD cm
8 watercolour

Watercolour and lead pencil on paper

framed: 55 x 46.6 x 1.85
unframed: 36 x 27.6

The distance of doubt is available to collect.

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Judith Blackall, ‘Gail Hastings: Sculptuations’, in Michael Fitzgerald (ed.), Art Monthly Australia, issue 272, 2014, pp.40–3.
Annabel Crabb, Review, 2014,, accessed 23 October 2016.
Isobel Parker Philip, ‘The pure potential of a page’, The Art Life, 2014,
Amanda Rowell, ‘Afterword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.xiv-xivi.
Richard Shiff, ‘Foreword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.v-vi.
Chloé Wolifson, Gail Hastings – Exhibition: To Do’, in Deborah Stone (ed.), Visual Arts Hub: Reviews, 2014,, accessed 23 September 2016.