The situation is a familiar one: you enter a lounge or lecture hall to find no one there, only vacant seats, and a feeling of emptiness, of being caught between moments, washes over you. You arc likely to experience a similar feeling when viewing paintings by the London-based artist Paul Winstanley. Much like works by Edward Hopper, Winstanley’s canvases invite the viewer to inhabit vacant rooms, generating his or her own narratives from personal memories. These works are like mental images in a double sense: first, each painting is itself a remembrance of something seen; and second, the depicted