Sean’s practice is concerned with creating the conditions through which perception becomes unstable. Working with resin, pigment, and light, he translates the surface of water into sculptural form, allowing something fixed to appear fluid, mobile, and alive. The wall-mounted works draw on the visual language of ancient reliefs, carrying echoes of monument while being produced through distinctly contemporary materials and processes. Their hyper-saturated colour may at first seem synthetic, yet it is extracted from observed visual phenomena, complicating the material’s industrial origin. Activated through interaction with light and the shifting perspective of the viewer rather than by mechanics, the sculptures shift beyond objecthood into event, where something fixed continues to move, and oppositions that might first appear stable begin to collapse.