Looking at painting always involves perception and interpretation, but Brierley’s convoluted pictures seem defined by their capacity to trigger pareidolia, a psychological phenomenon whereby a viewer recognises shapes in abstract patterns. As this game of recognition unfolds, so does Brierley’s freak show. Each ‘specimen’ – the artist calls them ‘paint personalities’ – is represented on a stage like a monstrous performer, available on demand for perverse viewing pleasure.