Oscar Enberg’s practice is formed from both official and anecdotal histories. His interest as a sculptor lies, not in creating a new major language, but rather building a patois that operates in minor key. Enberg’s works are inherently engaged in a kind of musing on class, conservatism and the traditional family unit. Equally important to him is a drive towards creating objects that feel loaded, and that point towards meaning, but a meaning that is ultimately inaccessible or even better, in a state of disassembly.