Ghost Horses and Guns is Melanie’s most significant solo show to date within a 25 year career, comprising enigmatic new sculptural works exploring ‘edgelands’ where the city meets the countryside, and the urban folktales that they evoke. In her catalogue essay Amanda Game comments that “Tomlinson weaves these contrasting memories into a glowing, filmic sequence in printed tin that hints at the ‘transitional qualities of unwritten places’…. The artist talks of consciously re-visiting some of the ‘magical corridors’ of her own younger self to consider those often unexpected encounters with people and places that move us forward, or sideways, at a liminal time in our lives. ‘A Post Punk Love’ for example shows teenage romance in an unexpected setting (a burnt-out Reliant Robin on a patch of waste ground). It also reveals the artist’s developing interest in new, more materially diverse sculptural forms. Large modelled clay heads push through – in a quasi-violent disruption – her more familiar, delicate printed metal box structures: structures that give detailed renderings of the riot of nature often found in what Richard Mabey memorably described as ‘the unofficial countryside’ of urban edgelands.”