[2] Staying on in Christchurch, Lingard established a studio in the Old Mill building in Addington[3] and abandoned painting to concentrate on constructions made from found materials.
[7] Writing in the Christchurch Press, journalist and artist Adrienne Rewi remembered Lingard for his unwavering support of the LGBTQ community.
[10] Following this experience Lingard was the driving force the next year behind the landmark exhibition Beyond Four Straight Sides (Homosexual) held at the CSA Gallery in Christchurch.
In 1993 his exhibition Smells Like Team Spirit at Jonathan Jensen Gallery[15] used rugby, the dominant sport in both Australia and New Zealand, to highlight the differences and implications of being gay in a heightened male environment.
The work Strange Bedfellows featured four flagons of beer each labelled with explicitly derogatory terms that have been used to describe gay men.
[16] Justin Paton in his review commented, 'This sense of humour, this quality of camp or erotic wit, is the richest continuity in Lingard's sculptures.
Lingard made work for six exhibitions and also spent time in New Zealand as artist in residence at the Ilam School of Fine Arts University of Canterbury.
[20] Lingard's initial approach to his work had involved the quick assembly of found materials, titling, and then sending them off for exhibition but by 1994 his practice had changed.
As Lingard put it, 'Where once I was dependent on language to tie together often disparate groups of objects, now each material (its colour, texture, smell) is considered and thought through.
Its repetitions represent the ongoing hassle of everyday life with disease, of being fixed to mundane activities, addressed in a very simple, elegant way.