Although Trisha Donnelly is a well-known and much admired artist, there are few who would find it easy to explain her work. Often containing a strong element of performance, Donnelly's art uses video, sound, photographs, drawings, paintings, and sculpture to convey enigmatic states of consciousness.   When it is not overtly dramatic, Trisha Donnelly's work is elusive; not infrequently it is barely visible or audible, with a subliminal impact that leaves us with a puzzling feeling that just beyond our ordinary understanding of the world lies something infinitely more strange and wondrous. Duchamp's ideas about the 'infra-mince', Yves Klein's absurdist metaphysics, and Bas Jan Ader's doomed and self-deprecating mysticism provide a context for her artistic vision.   This project has had an unusual genesis and development. First suggested as a collaboration by Suzanne Cotter at Modern Art Oxford (where a sister exhibition took place last year), it took off on a tangent. Trisha and I have conducted an intermittent but engaged dialogue during the last few months, in which topics as diverse as the extraordinary explorer and writer, Isabelle Eberhardt, Uzbeki ikat textiles, the Huguenot cemetery in Dublin, and the films of Tarkovsky played their part. As a consequence of our discussions the exhibition will comprise a number of older pieces that I selected and some more recent work that has been chosen by Trisha.   John Hutchinson   With thanks to Suzanne Cotter, Modern Art Oxford, Loring Randolph at Casey Kaplan, New York and Galerie Eva Presenhuber, Zürich for their help in arranging this exhibition.