Semi Precious consists of four large wall-mounted works depicting patterns typically found in decorative art: garlands, teardrops, sunbursts and arabesques that are more a kind of archetypal ornamentation than a representational one.  The outlines of these patterns are created by using many coloured fragments that recall a join-the-dots puzzle.  Each of the fragments is a figure of a human, animal or a hybrid of the two that resemble objects produced by ancient cultures, talismans or good luck charms, usually carved from precious materials such as jade or coral but in this case cast from plastic.  Their poses and gestures are exaggerated to the extent they resemble players in some absurd comedy, though the urge towards a narrative is arrested by their conscription as drawing material for the large nonfigurative designs.

The sculptural works of Jeannie Thib's show, Construct, are built up using cut and stacked ornamental motifs that are then housed in small vitrines, the scale and presentation of which establishes a relationship with architectural models.  A set of accompanying drawings further explores this connection by examining her sculptural motifs in plan, elevation and isometric views.

Jeannie Thib's sculptures are based on secitions excerpted from the design of a damask textile in the Royal Ontario Museum's collection — the same textile fragment that inspired "Model", a cut marble work she created in 2003 as an intervention projects at the museum.  This project was in keeping with her recent works that used industrial materials and presented three-dimensional patterns originally found in the historical decorative arts.  Thib continues to employ historical strategies once used in thte original two-dimensional designs — repetition, symmetry and silhouette — to create her new hybrids.

By employing building materials such as metal and stone in place of those typically used in architectural model making, and by using ornamental fragments as structural building blocks, the works in Construct invert established relationships between building and model; architecture and ornament.