Concerns over texture, material and colour are central to Iain Hales’ sculptural practice. His works are entirely produced by hand, with an exemplary quality of execution. Research towards colour came into his work in 2010, leading to an increased interest in painting and the fundamental question ‘what would a painting made by a sculptor look like?’ In his continual attempt to collapse the space between painting and sculpture, he explores the slippage between ‘object’ and ‘image’, three-dimension and flatness, form and surface. Hales’s 2015 series Villa Charlotte was inspired by a villa outside Zurich where he spent some time in the summer of 2014. Struck by an unusual, yet reoccurring, motif throughout the villa (a window whose form comprises a square and two semi-circles), the artist set out to produce a body of work that would take the size and shape of this motif as its only constraint. The result was the creation of a generic symbol taking various sensual qualities, from textures and materials such as metal, leather and velvet to an eclectic colour palette made of olive green, light pink and gold.