Davey’s sculpture in the late 1980s was preoccupied with circularity and pairing. Although abstract, the informal positioning and steel lips of the circles suggest the lids of vats, or giant paint pots, momentarily set to one side. By subtly altering the geometry of the circle Davey subverts notions of ideal beauty and uniformity. The streaked surface of the two parts of Ce & Ce, with its traces of poured acid, underscores this subversion of purity. The title suggests a visual pun about looking at a work in which one element partially eclipses the other behind it.