The practice of London-based artist Alex Hoda (*1980 in Canterbury) has evolved significantly from his initial figurative groupings of deformed, post-apocalyptic creatures, finished in his signature materials of latex and rubber. His most recent sculpture refers to our ability to arrive at a false premise by misinterpreting what is in front of us. Hoda's writhing metal forms, at once suggestive and impenetrable, ask us to consider whether a biased or predetermined reading occurs when interpreting abstract sculpture. In his current practice, he also uses a technique of automatism to challenge the viewer's approach to figurative sculpture. These works recall a surrealist agenda, one that is summed up by Max Ernst's desire for “the viewer to witness the emergence of the work”; what the viewer's sub-conscious brings to the sculpture ultimately determines its reading.