It is fitting that the work predominantly unfolds in a cold, damp garage under the hum of fluorescent tube light. When handed a small corner of the cavernous, white studio space at university, it would swiftly be transformed into a pseudo-shed. Every object had it's place and the order of things made sense, at least to the inhabitant. The organisation of tools and materials would be carefully considered, alongside printed research imagery pinned to the walls. Although never formally exhibited, these ancillary elements became as important as the artworks made in their shadow. When the degree show came around, elements of the studio were transplanted into a 1992 Fiat Panda. Partly informed by the rudimentary design of early space capsules, this outwardly mundane object was equipped with what was fundamental to an artist's practice and survival.