For James Angus, meaning is often found in the nuts and bolts of making. In Witch (2025), he turns construction inside out, exposing the joints and oversized hardware that are usually hidden within the fabric of our cities. Drawing on architecture, mathematics and the elegance of engineered forms, Angus employs theories of periodic geometry to create shapes that can be joined and inverted in infinite combinations. If you choose to think of sculpture as a theatre, one surface functions as a proscenium while the other reveals its backstage mechanics. By foregrounding the hardware of construction, Angus treats it as an index of labour, gravity and the quiet work of supporting structures. Witch invites us to reconsider not only the aesthetics of sculpture, but also the unseen systems that configure our built environment.