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This was Dunhill and O’Brien’s first collaborative work, made through a deliberately simple division of labour: one artist made a structure, the other made a cover for it.
 
The structure incorporated a slide projector and assorted studio materials, assembled into a loose framework of attached and overlapping parts. Some were hinged together, while others were held in place more provisionally by the tailor-made translucent jacket. Everything was designed so that the work could be easily dismantled.
 
The projected slides were close-up photographs of members of the artists’ families, introducing something troubling and intimate into what otherwise resembled an awkward piece of temporary apparatus, albeit somewhat over-zealously shielded from the dust.

Notes on Holes in Sculpture began as a spoken presentation: part lecture, part list, part slightly overextended enquiry into the unsung heroes of sculpture.