Six sculptures are presented on dark glass plates. The glass plates are elevated on light wooden constructions, which are simply ornamented with curved corner plates, and frosted with mortar.
The under-sides of the works are reflected fetishistically; styrofoam pores, tight with paint, blistered like a cinematic special effect, or skeletal with flaking skin, loose and taut gauzes and meshes, curls of colour over fibrous pulp. Some forms twist in on each other, some slump more decidedly, but each sculpture has questionable density within its assemblage. The titular suggestion of a foundation is thus complicated – which is the foundation, which home, and at what point would nibbling no longer be possible?

Raffaele Pola often refers to his works as the product of regurgitation. Regurgitation as an animating principle and engineering method. Recognisable materials are processed and subjected to transformations under Pola’s obsessive impulses, as though his process could result in a form of organic logic that showcases remains. As the plinths suggest containers for storing and transporting large electronics, perhaps we are invited to gaze upon the masticated and chemically abraded digital object that sheds simulated dust, like pixels. Regurgitation is a reflex or decision that follows input.