When objects are discarded from one system, another is opened. My work emerges from an inventory of objects that gradually accumulate in the studio. I bring together things at the end of their lifespan, sourced from charity shops, car boot sales, or left on the street. These discharged objects have been through a series of value-based decisions before they come into my hands. My criteria for selecting objects is based on their potential; these objects each have their own limitations, these limitations are important as they guide how the objects are transformed. My interest lies in the shifting position of desire, the things I am using were designed products whose affect has faded. This archive of dissonant things is activated through juxtaposition, fusing the objects together is what animates them as sculptures. Each object I bring to the studio has an allure that is independent from its original intention, a physical vocabulary that echoes. They take on a hybrid identity, hinting at their original function while becoming something new. When working with these objects, the idea of “affordance” comes into question: the property of an object that defines how it can or should be used. Through pairings and physical manipulation I aim to renegotiate the possibilities ascribed to objects through my work.