Laurence Sturla’s visual language of his ceramic sculptures are part industrial, mechanical, part engine, part architecture. They draw heavily from Sturla’s upbringing in Swindon, once part of the thriving industrial revolution in England, but now one of many English towns lined with empty factories. Sturla’s post-industrialist machines illustrate the fallacy between technological precision and our (in)ability to recall and visually digest space, function or logic.