Oscar Enberg is presenting an installation of sculptures that enquire into how objects can become relics, memorialised across history. Motifs and anachronistic phenomena which carry a certain symbolism are suspended in varying repetitive forms across the booth. Preoccupied with the ways in which class and taste are distilled in objects, his sculptures emerge from a distinctly continental and often conservative milieu. Appearing as belonging to a bygone past, their finishes reveal subtle marks left by his hands while making.

Enberg is fascinated by how the meaning of commonplace objects such as a button or corkscrew can become skewed by enlargement and repetition. He notes of attempting to ‘exert just enough pressure on these recognisable forms that an abstraction occurs.’ Taking the familiarity of a button and rendering it incongruous by its scale, Enberg repeats the form across each sculpture. Although easily recognisable, he sees the fastenings’ circular shape as a signifier for a ‘ring composition’ – a literary technique of uniting key moments by way of symmetry that, in his words, ‘adopts a sort of meandering narrative’. Formed by woodturners, Enberg connects their varying intensification of pressure on the lathe to how a writer modulates a story around a central plot. Incorporating a range of production techniques – willow weaving, lacemaking, glass blowing, casting, as well as wood carving and turning – Enberg is conscious of the importance of these slower, traditional methods as a resistance to the speed of machine-making.

For Liste, the panel pieces mark a new direction for Enberg, referencing his appreciation for traditional still life painting. Monochromatic layers in oil, enamel paint and flocking are applied to square wooden boards, before assemblages of weasel, fox or cow bones, and copper ingots more commonly melted down to make coins, are constructed to adorn the surfaces.