An affinity with the arte povera and process art movements underpins Lorna Pridmore’s practice. As an antidote to the fast-paced world we live in, she works slowly and forensically with ‘unimportant’ materials to raise the question – what has real value? She transforms ‘stuff’ that we think is insignificant into thought-provoking, sometimes beautiful, sometimes disturbing, new forms. Using laboured processes of deconstruction and reconstruction, points of least resistance are explored between artist and material – to the point when shape shifting occurs and the ordinary becomes the extraordinary. Lorna tends to use everyday materials that cover or support us, for example diaphanous organza that decorates wedding venues, kirby grips to keep our hair in place, hessian and upholstery nails that bolster the furniture we use. Through simple repetitive actions like pulling, wrapping or pinning, objects are changed on their own terms. Because of the lengthy process, time itself and the hand-made touch permeates and marks the artworks. By creating an intangible connection between object, artwork and thought, she wants to elevate the ‘unremarkable’ as a means to rethink the general orchestration of the world around us.