Roger Hiorns’ sculptural practice meditates on the act of artistic creation, observing what happens when the process is handed over to reactive, “living” material and its metamorphoses. Copper Sulphate Chartres and Copper Sulphate Notre-Dame and Leaning Chartres With Cobalt and Copper Crystals, both from his Goldsmiths degree show in 1996, as well as his more recent large-scale installation ‘Seizure’, highlight his apparently no-hands method: a chemical solution is allowed to precipitate and take over an existing object or space, and a found form and its meaning is transformed, as if by self-design. The way crystal formations shape themselves on these cardboard models creates a living sculpture, reminiscent of creeping ivy on statues, of historical ruin; it also undoubtedly recalls the slow-forming processes of geology, suggesting a latent constant potential for material transformation.