Talking the ubiquitous plastic stackable chair (originally devised by Charles and Ray Eames in 1955) as its starting point, this body of work interrogates the sculptural possibilities of these quotidian forms. 

Through video and photography these objects are stacked, assembled, balanced and deconstructed following strategies and procedures synonymous with 1960s American minimalism.

The resulting imagery presents new forms and compositions, as well as new ways of understanding these common items of institutional furniture.