Adam Watts creates mixed media sculptural assemblages, installations and environmental interventions. He often designs pieces that can be walked over, through or around. Installed at the James Taylor Gallery in London, Watts’ Half Built Sight (2010) was an array of rough plaster walls, whose unearthly strangeness suggested a stage set for a science fiction or horror film – dark imaginings of hermetic self-building. Watts’ sculptures seek to activate an imagined space within the everyday, to create ways of thinking in and through space that open up new narrative and ambulatory possibilities. At other times, his works resemble the tinkering of a deranged scientist. Untitled (2011), for example, is a raft-like sculpture made from bits of scavenged wood, nails and plaster, that echoes mid-century visionary architectural models and sketches by Constant Nieuwenhuys, Yona Freedman or Hans Hollein. A larger scale work is The Two Beacons, 2010, a mixed media sculpture of freestanding beacons, the top parts of which rotate. Beacons suggest fragility, survival and danger, while their scale and improvised quality suggest a solid capacity to thrive in adversity – it is between these existential polarities that Watt’s work thrives.