Through a radical juxtaposition of the natural, artificial and synthetic, Sarah Staton’s aesthetic refers to both traditional fabrication cultures; textiles, woodwork, metalwork and so on, as well as to digital culture; its screens, colours, textures and its incursions into lived time.

One central trope and architectural reference has been the waiting space, a symbol of the social stasis brought on by economic downturn that inadvertently also facilitates thought and reverie. Staton uses materials’ affective dimension – their ability to trigger associations and psychological responses – to supplement the established modernist coupling of form and function with a third term, feeling – an important but elusive texture for public art and urban design.

Through allusions to utilitarianism, and her exploratory use of synthetic and natural materials, she creates spaces and objects that are marked by their socio-economic reality, seeking a modest purpose - to enable revelry and reverie.