Richard Rigg’s sculptures reproduce and manipulate everyday objects, transforming them into reflexive propositions and theoretical paradoxes. Employing culturally resonant objects that signify the foundations of our civilization through drawing upon the histories of science, mathematics and literature, Rigg pitches reason against itself, elegantly and iconoclastically undermining our own rational basis, yet suggesting an ulterior route. Rigg’s reductive, minimal works open up potential meanings and ontological possibilities. Attempts to pin the works down into an exact reading are thwarted through their elliptical conceptualism. In this work, there is a direct meeting of it’s beginning, with its end.

In this new body of work, Rigg explores ideas of time and place, challenging us to consider something that exists just beyond our perception, at the very edge of possibilities. I forgot what was said when we were outside, stood empty, now without those words I fell back, consists of two full size telegraph poles stood upright in the stairwell of the gallery, the telephone line hanging loosely between them becoming the memorial of a brief excerpt of conversation between the artist and an anonymous but significant other. The title of the work taken from the disjointed notes scribbled down by the artist during the call in an attempt to remember. Latent Morning is a semi-folded mirror image replica of one the original sash windows in the attic space of The Old Post Office, Workplace Gallery’s late 19th century location. Installed against the wall and floor, and out of sight of the original the new window becomes a distant echo of its subject.