In the main gallery space seven suits of Knights’ armour sit upon concrete and metal plinths that rise up out of the floor like platforms. Each suit has either been crushed alone or with household objects - cookers, coffee tables, ladders and a filing cabinet have all been used. The combinations suggest abstract relationships: the crushed cookers are like speakers, the work is called KnightClub. The combination of the filing cabinet and knight is called KnightShift.
Each of the sculptures contains its own microenvironment - a night vision. Knight Light, a central sculpture in the exhibition illuminates this world - and the visions it contains.
On the walls a series of metal paintings hang like constellations, like stars across a night sky. The peeled aluminium sheets have all been bent by hand. Like peeling billboard posters they suggest other realities hidden beneath them, expanding into other places beyond, like an inner world.
The space on which we walk is a metal floor work, which recalls minimalist sculpture such as works by Carl Andre or Donald Judd. Made from metals in various finishes, it’s like a set of stepping-stones. The polished metals reflect the sculptures and sky like puddles, photographic moments in the urban stroll. The final work we encounter is entitled Metal Urbain, a combination of folded metal sheets which form plinths on top which are dismembered elements of a suit of armour cast into concrete. It is here that the disjointed rhythms of Metal Urbain can be recalled and the reality of the exhibition space and the outside world meet - the city outside and Metal Urbain, a vision of knights and night-times.
Anthea Hamilton, Ibid Projects, London