The sparsities began as planar, volumetric constructions made in steel. I displace them from their original context by crudely cutting into them with a torch to leave behind the jagged edges as evidence of the intervention. I remove most of the visual information and distill the forms down to the moments in which the original artist made decisions concerning the sculpture’s limits: the welded contours. The pieces are then coated in a protective layer (either powder coated or painted) to arrest further decay. These fabricated relics are then situated on found and whitewashed furniture, giving the work a new domesticated and precious status.