In her conceptually enriched and materially astute practice, Fiona Connor has evolved a sculptural language that unsettles objects and environments by reproducing them. Her work has continually invested in sculpture as a site where the formal, social, psychological and discursive properties of objects can be newly animated and observed. To date, the subjects of her mimesis have included: gallery facades; museum seating; municipal water fountains; real estate signage; leisure furniture; community noticeboards; windows of a house once inhabited by a Californian minimalist painter; windows in the homes of museum attendants who would invigilate the exhibition in which the works were installed; tools used to install an exhibition; doors of clubs that have closed indefinitely, among others. Through this process of reproduction – which itself assumes many different approaches – the artist shakes off the familiarity that subdues how we process many of the civic objects and built environments that we’re endlessly encountering and reveals new contact points.