Lovelace's photographs of industrial materials poised in temporary compositions present unusual shifts in function and aesthetic value whilst evoking complex relationships with histories of sculpture and performance.
In the photographs the industrial materials are carefully positioned, drawing attention to their sculptural attributes: varying degrees of tension, balance and weight creating dynamic portraits. In some of the photographs a person, perhaps the artist carrying out a performance, is partially seen engaging with the objects.
Some of the objects which the artist photographed, as well as one which the artist fabricated himself, were also exhibited in the gallery space. This cross referencing of image, object and intervention creates a cyclical relationship between sculpture, photography and performance. These are interests that underpin Lovelace's practice.
The meeting of industry and art is also a principle theme. The raw materials that Lovelace draws our attention to are normally functional apparatus used in construction. In Work Starts Here, however, these materials enter the realm of art and immaterial ideas - conceptualised, often in a playful manner, and revealing disparities and dependencies between both worlds.
Work Starts Here, Son Gallery, 2012. Press Release extract.