In her Big Fall collection, Sherylle explores her fascination with mark-making and visual language, while investigating the notions of deconstruction and reconstruction.  Large swathes of flat colour are marshalled together on the canvas, appearing at once both fragmented and cohesive. Shapes are connected by and overlaid with scrawling text-like marks, scratchy lines, and diagrammatic symbols - which could be read as a set of quickly jotted-down directions, a scribbled notation, or a back-of-the-envelope explanation. The result is a graffiti-esque composition that playfully dances on the canvas like torn pages from a notebook; inviting the viewer to lean closer in the hope of decryption, while sensing that to do so is to risk further perplexity.