Max Frisinger’s raised glass cases – assemblages crammed with found material – are witty visual paradoxes, governed by a dual sense of cacophony and order. They demand careful observation, with each side like an entry point, revealing a different topography made up of found scraps – metal, wood, tubing, table legs, plastic tubs, offcuts and other broken designs – all random-looking but somehow perfectly framed around each other and their spatial limitations.

Frisinger’s works juxtapose apparent chaos with a careful sense of arrangement, and flirt with an art historical understanding of perspective, representation and abstraction. Depending on the viewer’s point of view, the objects within these three-dimensional boxes may appear to be independent from each other, or unified and flattened, like abstract paintings.

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