Nathan Coley

[5] Using the readymade as a means to take from and re-place in the world, Coley addresses the ritual forms we use to articulate our beliefs - from hand-held placards and erected signs to religious sanctuaries.

Investigating the relationship between the rational and the spiritual, Coley's sculpture went on to be exhibited at Tate Liverpool and the Scottish National Gallery of Modern Art, where it became part of the collection in 2010.

Inspired by Oscar Niemeyer's architectural designs, Coley's Landings]are characterised by a sense of theatricality which renders the viewer, or participant, aware of his or her interaction with the work.

Coley's exhibition A Place Beyond Belief showed at Haunch of Venison in 2012 and included a range of photographic and sculptural work relating to the ritualised nature of protest and mourning.

Included in the show was an illuminated, scaffolded text, A Place Beyond Belief, which was originally sourced from the testimony of a New Yorker describing a subway journey she made in the days following the 9/11 attacks.

This show featured new work from Coley consisting of a series of large-scale custom-made lightboxes which combine original wallpaper from Zuber & Cie with short texts selected by the artist.

[16] The sources for the texts vary from classic American literature such as Mark Twain's The Adventures of Huckleberry Finn (1884) and JD Salinger's The Catcher in the Rye (1951) to a contemporary CNN news report about migrants at the US/Mexico border.