The tautology embodied in the sculpture Primer sets the tone for the exhibition. A generic white printer rests as if weightless on a black mirror plinth. It is itself a 3D print generated from a 3D scan but has been mauled and dug out in an ultimate analogue act of vandalism by some unseen hand. While the suite of four posters that compromise Off Set appear to be out of register. As if looking through the arches of a cloister, the consecutive views of the de Chirico scene shifts subtly in perspective from one image to next.

In Marrow both the physical and the metaphysical are inhabited in the same figure. The transience and vanity of mortal life embodied in the decaying body of the Transi (cast from a 1545 tomb effigy at the Church of Saint Etienne in Bar-le-Duc), serves as a backdrop for, not-so-much the afterlife, but a parallel universe. In the place of his own heart, the skeletal hand clasps a tesseract. Just as a three-dimensional
object casts a two-dimensional shadow, the hypercube makes a diminished image of four dimensions.

A series of sculptures titled Cache sit upon shelves and plinths throughout the space. The title alludes to both computer memory as well as an analogue repository. The sculptures are composed of paper sourced from postcards and faded magazine illustrations separated by planes of plexiglass, creating a collage in relief. The images in layered strata present speculative scenes of unclear origin and alternative timelines. Epochs, genres and categories are compressed into flimmering tableaus, each a crystal palace of possible events frozen in time.