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Yet when you look at this work, or at Matisse’s Blue Nude, we verge on the repertoire of the sublime; the viewer is drawn into an instant annihilation of reality, with a feeling of triumphant, blessed idealism.

Artists whose work is more to do with global harmony, and its links with salvation, create a visual world that is radically different from yours, but ultimately just as effective.

Though this exhibition is based across two floors it essentially boils down to three installations, all revolving around the central theme of war and conflict.

Downstairs we have a large copper pot sat atop what appears to be a large bomb, complete with gas cylinders and sticks of dynamite.

Abdessemed recalls the consternation of staff and professors in the school: “What do you mean showing a naked woman – the school will close down.” It is hard to believe this reaction now when peering at this modest work.

Yet I myself have made the claim on multiple occasions that it is Literature than has changed human consciousness, and it is a higher art that is able to come into the world because of this heightened state of positive consciousness.

What does this mean for the current production of Conceptual Art by fabrication and machine?

Evidence of this is seen in his photograph where he appears to be on fire with his arms folded as if in an act of total defiance against the order and disorder of the world.

How can I accept that his work is exclusively focused on the unreal realities of violence and sometimes blind human cruelty, perhaps he is seeking a cure to the impossible.

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