Dunhill and O’Brien wanted to put their studio waste to good use.
Leftover brought together the test pieces, mock-ups, abandoned experiments and unused components that had accumulated over a two-year period. All 567 objects, ranging in size from a few centimetres to two metres, were coated in thick grey ‘tarmac scatter granules’ of the kind used for model railway scenery, then arranged inside a tailor-made cart with glazed panels.
The cart was both a display case and a means of moving the disparate objects. Reminiscent of a bier, it gave this collection of redundant and failed objects a slightly mournful, though also somewhat pompous, air.
The dusty grey flocking created a peculiar consistency, allowing the many things that had outlived their usefulness to sit alongside one another without distinction. Leftover became an inventory of sculptural dead ends and near misses — a thesaurus of sculptural dysfunction.