Shrive's recent works are all three-dimensional paintings on paper - portrait heads presented as broken carapaces and iconoclastic revisions of familiar works by Picasso, Mondrian, Warhol and Johns.Sumptuously painted, intentionally damaged ; they are psychologically arresting works, questioning accepted tenets of contemporary beauty and cultural interpretation.

The title 'Post painting', refers to the unique technique Shrive uses to redraw or reform a painting as it nears completion. First, he paints in acrylic on brown paper - from life, memory or reference - and then he takes the "finished" work and variously crushes, screws or rips it up, repeatedly reforming it in search of its ultimate incarnation.

By making two dimensions into three, Shrive effects an alchemy, turning painting into sculpture.The resulting reliefs erupt from a cyclical trinity of creation,destruction and recreation - it is a process fraught with risk that can end in triumphant success or miserable failure; the window of time available being so short that many paintings don't survive the treatment.

When applied to iconic works of contemporary art, this modus operandi becomes conceptually disruptive - when working from Warhol, the reappropriation of images is taken one step further. Twice removed from the original, they manifest as acerbic critiques on Pop Art's legacy. In the reckless reworkings of Mondrian, the austere and reductive aesthetic is violently undermined and order becomes chaos.

To some extent, Shrive's work mirrors Cubism, in that, instead of trying to bring many viewpoints into one, they explode into many different viewpoints from one - something he tackles head-on in his compelling version of Picasso's "Desmoiselles d'Avignon".