Hopewell’s more formal approach to sculpture making often embodies physical representations of sound. Adopting the concept of synaesthesia as a natural state of understanding colour & sound’s harmonious relationship, Keith’s wooden reliefs explore sonic composition in colour as a form of architecture. Cue-base software editing is realised quite literally in the shape of physically constructed sound compositions. Vice-versa, the constructions can be played as music arrangements, with the colours indicating the notes. Another level to the body of Hopewell’s sculptural work includes the adoption of ready-made materials & objects. He explores the autonomous language communicated in the ‘thingness’ of his selected objects. Again, the synthesis of deconstruction/re-arrangement of surface & object is present in Hopewell’s work. Notably in the excavation of supermarket trolleys, methodically arranged into anatomical formations. In another series he paints & deconstructs boards, then re arranges the pieces, leaning them at new angles, utilising the architecture of existing walls to support them. This work is all about incorporating the environment around the pieces, adapting to spaces by working their limits & restrictions.