The Coming Into (2017), seeks to absorb its environment’s physical terms, whilst developing the notion of an architecture as a mediated and inaccessible experience. The structure itself echoes the floor plan of the gallery whilst the imbued surface of the pink plaster board acts to flatten the light at the same time that the transparent, dark-grey parsol reflects it. The result is a layered, collaged effect through the multiple reflections created by the interior of the gallery, the exterior of the outside world and its empty internal structure that reveals the ultimate denial of access.
