Asides from dealing with universal themes such as life and death or memory and childhood, the sculptural works often reference specific historical and political events. A number of these sculptures discuss the moral and factual perversions of the privatized US prison industries; other pieces attempt to encapsulate the corruptions of global financial markets or the machinations of oppressive authority and the nature of ‘police state’. One strange-looking black lamp post, for example, turns out to be a 1:1 remake of an original structure standing next to Kreditbanken in Norrmalmstorg when the term Stockholm Syndrome was coined in 1973.

Considering the themes of these works means also confronting the responsibilities inherent in our private and public lives as global citizens. We are invited to contemplate the power of systems of institutional constraints – state, job, education, family – that societal frameworks impose on us. It is recognisable industry-made products that often take a central position in these works, stressing how common objects construct the world we all inhabit and how they reveal themselves to be agents, accomplices, and symbols of political potency.