Patricia Cain @ Kelingrove Art Gallery and Museum

“Patricia Cain’s work on the Riverside Transport Museum uniquely documents the geometric complexity and structural integrity of the museum’s design,” says the architect behind Glasgow’s new Museum of Transport, Zaha Hadid, in her introduction to Cain’s new exhibition.

Cain’s analytical studies of the construction of the museum recently won her the Threadneedle and Aspect Prizes. Her current exhibition, timed to coincide with the museum’s opening in June, includes many of these prize-winning paintings alongside collaborative work that spans digital design and sculpture, all inspired by the architectural evolution of the museum.

If the number of works is overwhelming, it certainly conveys the passion with which Cain worked over the three years she witnessed the build. From pen and ink drawings of the tenements that were demolished to make way for the museum, to the skeletal studies of the steel structure, every aspect of the museum’s development is documented.

Cain uses collaboration to explore new media and different viewpoints. Her abstract works, made with Rosalind Lawless, Clyde Redevelopment 11A, Tether and Skyjack are skilfully painted and reminiscent of Vladimir Tatlin’s famous constructivist tower.

Propping the Riverside: Architectural Installation, a massive sculpture made with Ann Nisbit, hulks in the corner of one room like a cross between a Hadid building and a ship. Supported by reclaimed timber struts, it’s as much a reminder of the Clyde’s past as it is a comment on the new museum.

A video installation, All Wrapped Up, made in collaboration with Phil Lavery, requires 3D glasses to view and is, perhaps, slightly gimmicky, but On Wrecker’s Ball: Digital Pepper’s Ghost Installation, another work made with Lavery, is wonderful. An atmospheric video installation comprising three layered screens, it abstracts the demolition of the tenements and combines ghostly figures with text from Edwin Morgan’s poem Glasgow Sonnets for Bonfires.

It’s intriguing to see Glasgow's new Transport Museum develop throughout the show – Cain’s pathological interest in the building is infectious.