Jared Ginsburg’s studio practice offers a repertoire of hesitations and inventions, a material study of perhaps and what if. With sculptures, video works, drawings and prints  –  or, as the artist says, with remains, traces, instruments, and devices  –  Ginsburg notates the time spent making, discarding, and making again. In Ginsburg’s studio, everything presents itself as potential material; off-cuts and waste, even old and forgotten artworks, are repurposed and reimagined as ‘found objects’. This is perhaps most evident in his kinetic sculptures, which carry traces of their previous lives as other works. They are inexact and fragile constructions; a series of propositions for further propositions, object studies of objects only conjectured.