Mapping the space of the body with various three-dimensional drawings comes to its logical conclusion with the 

 pieces – where the grid is reduced to the minimum information to identify a human space in space and remain standing.

The grid is the structure that informs industrial modernism. It is the trellis against which the contemporary body is framed.

 try to make an objective correlative of the way we have internalised the external structure of the city in our use of digital communication. We now use its binary code universally as a means of self-analysis, self-extension, self-expression and comparative knowledge. This is expressed materially in early 

 and is reduced to a measure in works like 

 could be seen as a resolution of the paradox of an internalised scaffold.

 takes meanness to an extreme. The piece forms part of a recent series of steel 

 in which the body is reduced to a lattice of pure Cartesian co-ordinates expressed in three dimensions, and then subjected to further reduction. […] In this recent series the body has dissolved into the grid: it has become nothing but a three-dimensional Cartesian diagram of itself. The grid no longer adheres to the surface of the body but rather occupies the entire volume of the body. There is no body – only the vestigial co-ordinates of a body that has been abbreviated to its minimal internal geometry.

 (2016) presents an abbreviation of this rudimentary abbreviation. Having reduced the body to a grid, the artist proceeds to 'mine' this grid… The grid becomes a cipher of itself – no longer a grid but the barest sketch of a grid in which we can read the suggestion of a human body. That this work exists at life scale only accentuates the degree of the abridgement. It also establishes, if there were still any doubt about this, that this is not an image or representation of a human body: it is not a question of one thing standing for another, but rather the literal occupation of a body's space by its own co-ordinates. But the process of reduction goes even one step further. […] Depleted of depth and dimensionality, the object turns into a pure planar surface – the abbreviation of an abbreviation of an abbreviation. Under the pressure of architecture, the sculpture turns into a drawing, and the drawing in turn leads back into architecture. A slight shift of perspective transforms this human stick figure into an architectural floor plan.'

Rebecca Comay, ‘Extreme Measures’, in 

, London: White Cube, 2016, pp. 107–108

Grid Works

, 2014, cast iron, 187 × 50.5 × 39 cm. Photograph by Stephen White, London.

Grill II

, 2014, 10 mm square section mild steel bar, 184.6 × 50 × 37 cm. Photograph by Stephen White, London.

Grill

, 2016, 8 mm square section mild steel bar, 192 × 51 × 32 cm. Photograph by Stephen White, London.

Mean II

 2016, 10 mm square section mild steel bar, 192.3 × 50.3 × 30.7 cm, edition of 5 plus 1 AP. Installation view, White Cube Bermondsey, London, UK. Photograph by Ben Westoby, White Cube.

, 2016, 8 mm square section mild steel bar, 192 × 49.6 × 32.3 cm. Photograph by Stephen White, London.

Mean

, 2016, 10 mm mild steel plate and 10 mm square section mild steel bar, 193.1 × 50.4 × 33.3 cm. Photograph by Stephen White, London.

Mean III

, 2017, 10 mm square section mild steel bar, 166.1 × 49.6 × 48.5 cm. Photograph by Stephen White, London.

Broken Mean

, 2017, 10 mm square section mild steel bar, 192.8 × 50.5 × 29.8 cm. Photograph by Stephen White, London.

Set II

, 2017, 10 mm square section mild steel bar, 193.5 × 48.8 × 34 cm, edition of 5 plus 1 AP. Photograph by Stephen White, London.

Set III

, 2017, 16 mm square section mild steel bar, 166.4 × 49.8 × 48.2 cm. Photograph by Stephen White, London.

Broken Mean II

, 2018, 10 mm square section mild steel bar, 195 × 52 × 30 cm, edition of 5 plus 1 AP. Photograph by Stephen White & Co.

Set IV

, 2019, 6 mm square section mild steel bar, 193 × 50 × 32 cm, edition of 5 plus 1 AP. Photograph by Stephen White & Co.

Grid Works

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