Unlike B.A. Zanditon’s rigorous methodology of recording the rubbings like a scientific experiment, there’s no structure in my samples of rubbings. Similar to Cornelia Parker’s approach in Cold Dark Matter: An Exploded View (1991), referencing disorder of the big bang. Zanditon makes rubbings of specific institutions – such as Southbank Centre – exposing the structures’ architectural materials, evolving to concerns on institutional power held by such structures. Psychogeography, the study of the geography and how that affects the mind and behaviour, is connected to the architectural spaces and how that affects people depending on the building they are in.

Inspired by what I read about Pablo Picasso’s still life (1914) sculpture during my research into constructivism, my work sought after an unfinished look, and also expose the materials used to make the work, like Richard Serra’s corten steel works which he leaves bare and unpainted. I drop the works (laser cuttings and paper of floor plans) onto the floor, letting gravity lend a hand, similar to how Robert Morris lets the felts hang freely from the wall and accepting the shape the work takes.