Guy Haddon Grant (UK, 1988) works in a space of tension where figurative representation, classical art history and happenstance converge into a rigorous visual grammar, rooted in contemporary, physical, and speculative play. His recent work can be understood as an imaginary archaeology: forms that evoke parts of the human body—faces, limbs, organs, eyes—dismembered, displaced, extracted from their function, and suspended within a new visual order that avoids total unity.

What appears is less the figure than its trace. More than the body, its signs emerge. Instead of the ruin, what arises is that which escapes being fixed as such. In this liminal space between the symbolic and the physical, Haddon Grant constructs sculptures as material enigmas. Plaster, metal, wood: matter both fragile and firm, shaped with precision, without superfluous ornament, contained.

His sculpture unfolds without imposing itself. The viewer stands before an unfamiliar body: a chimera. The mythological reference acts as a generative structure. The works operate as hybrid assemblages, where abstraction and figuration coexist in tension, generating a perceptual unease that eludes easy answers.