​​mass: a measure of the amount of matter contained in or constituting a physical body...
Upsilon (with applied colour): 
​Second Skin /Second Life.
Cardinal Red Studio
​Virginia USA 2026
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Certain formal motifs recur across multiple works within the Apophenia series, the most prevalent of which resembles the letter “U,” or the Greek letter upsilon. At the outset of the series, I maintained a deliberate commitment to employing forms and figures devoid of fixed or predetermined meaning. The upsilon form was selected primarily for its compositional harmony; however, its historical association with dualistic conceptions of human nature, as articulated by Pythagoras, remained an implicit consideration.
Black Knight
(Unlikely but Not Impossible) 2026
Cardinal Red Studio
Virginia USA
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'Exploring perception, space, and materiality, this work investigates how familiar objects can be transformed to challenge recognition, hierarchy, and expectation. Mass-produced objects are reconfigured into unexpected forms, disrupting habitual modes of engagement and reframing ordinary materials within new formal and conceptual frameworks.'
​10 Tredecillion Teaspoons
(Unlikely but Not Impossible) 2026
​(As 10 Tredecillion Mirabel Studios 2015)
Cardinal Red Studio
Virginia USA

​For an artist, certainly for this artist, IKEA represents a compelling and stimulating environment. If I were currently leading student groups, it would be among the first destinations I would choose to visit. While the quality of the products and the sophistication of the store’s design are evident, what proves more significant is the accumulation of the mundane...
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Second Skin / Second Life: Calve 2025
Cardinal Red Studio
Virginia USA 2025 - 2026

Second Skin / Second Life serves as the working (global) title for a new body of work that marks a return to my sculptural origins through the transformation of found materials, specifically packaging waste, into autonomous artworks. Packaging, emblematic of twenty-first-century consumer culture, functions as a protective membrane: goods and commodities, much like individuals within contemporary society, are hermetically sealed within successive layers of containment. 
Dancing with Scissors & Dancing with Scissors II
(Unlikely but Not Impossible) 2024
10th Street Studios
West Virginia USA 2024

This work emerged from a conversation with a fellow artist and tutor, prompted by my description a pedagogical and practical approach which I employ. In recounting how I had previously structured workshops for groups of students, I explained that I would begin by removing a range of tools from storage cupboards, paintbrushes, hammers, pliers, scissors, and other implements typically confined to instrumental use. Rather than instructing students to employ these objects according to their designated functions, I encouraged them to consider the tools themselves as materials.
​April Shower Beaded Curtain 
(Unlikely but Not Impossible) 2024
10th Street Studios
West Virginia USA 2024

​Certain themes and concepts recur consistently in both my thinking and my practice. I am particularly intrigued by the presence and accumulation of mundane objects. As noted previously, IKEA (10 Tredallion Teaspoons) serves as an excellent resource for such materials; however, in the United States, I have found that dollar stores fulfill a similar role. ​
Crow 
(Unlikely but Not Impossible) 2024
10the Street Studios
West Virginia USA 2024

Crow was among the earliest works to consolidate Unlikely but Not Impossible as a distinct and self-conscious body of practice. It marked a point at which a series of experimental gestures coalesced into a clearly articulated conceptual framework. The sculpture does not merely belong to the project retrospectively; rather, it actively defines its parameters, establishing the operative logic that subsequent works extend and refine.

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Self Portrait with Giant Jenga: Refound Materials.
(Unlikely but Not Impossible)  2024
10th Street Studios
West Virginia USA 2024

This work was originally produced during an artist residency, after which the materials employed were subsequently returned to their original function. As a result of this I did not retain possession of the piece. In 2024, I decided to recreate the work, prompting the acquisition of a Giant Jenga set. However, further investigation revealed that the IKEA step stool integral to the original composition was no longer available in the United States. While this presented a minor challenge, it was resolved through the identification of the stool’s design specifications and dimensions online, enabling the construction of a replica. Owing to this process of reconstruction and reinterpretation, the work is now titled Self Portrait with Giant Jenga: Refound Materials.
Black Bird. 
(Unlikely but Not Impossible) 2023
10the Street Studios
West Virginia USA 2023

'Play has consistently occupied a central position within my practice, functioning not as diversion but as a methodological and conceptual framework.'
Excert from: ​On the Nature of Play: Unlikely, but Not Impossible. Artist Statement (Mass & Volume) Antony Clarkson 2021
Centaur (Self portrait with Shoe rack). 2023
(Unlikely but Not Impossible) 2023
The Blind Men and the Elephant.
10th Street Studio
West Virginia, USA, 2022
Spatial Conceptions 2006 - 2026.
The Link Gallery 2007
The Holden Gallery 2007
Manchester School of Art 2008
Monster Truck Gallery 2012
​Wexford Art Centre 2012
PS Mirabel Gallery 2013 & 2014
Dunoon Burgh Hall Gallery 2021

​​The works gathered under the title Spatial Conceptions originated from a question that arose unexpectedly during the installation of a series of large-scale oil paintings begun in 2006. ​
Painted Objects 2020.

The Self-Isolation Residency

Athole House Studio
​Dunoon, Scotland, 2020










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10 Tredecillion
(Unlikely but Not Impossible) 2015
Mirabel Open Studios
Manchester UK 2015

For an artist, certainly for this artist, IKEA represents a compelling and stimulating environment. If I were currently leading student groups, it would be among the first destinations I would choose to visit. While the quality of the products and the sophistication of the store’s design are evident, what proves more significant is the accumulation of the mundane...
Smog
A6 Dialogue Two Exhibition
Bankley Studios Gallery
Manchester UK 2014

Smudgy, graphite study with unclean lines on  gessoed, found wooden block.
The Shadow of the Waxwing Slain
A6 Dialogue Exhibition 1
PS Mirabel Gallery,
Manchester UK 2014

'an old but unused pocket diary optimistically maturing there until its calendric correspondencies came around again.'

In Pale Fire, the character Charles Kinbote discovers the diary inside the middle drawer of a desk. This quotation provided the conceptual and linguistic point of departure for the work, an association further reinforced through the derivation of the work’s title from a poem within the novel. These relationship were subsequently extended through my participation in the A6 Dialogue Exhibitions in Manchester.
The Newtonian Nightmare
Synthesis Exhibition
Manchester Science Festival (MOSI)
Victoria Warehouse Hotel
Manchester, UK, 2013.

'This spectacular exhibition is a futuristic experience of installations, paintings, sculptures and visual experiences, and features prominent international artists exhibiting alongside the winners of our New Graduates Award 2013.'                                   
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Autograph: Kinetic Sculpture
(Unlikely but Not Impossible) 2013
Chain of Events Exhibition
Manchester Central Manchester UK 2013
'Autograph by Antony Clarkson has been set to run for the duration of The Bike and Triathlon Show. Completing its course when the doors close on Sunday evening. During this time it will mechanically sign a series of 10 edition prints.'
Self Portrait with Giant Jenga
(Unlikely but Not Impossible) 2011
​Cow House Studio Residency
County Wexford Ireland 2011

​My first artist residency in 2011 proved to be a transformative experience. It provided a rare opportunity to engage in sustained artistic production, free from the constraints of everyday obligations. I approached this period with deliberate intensity, entering the studio early each morning, often by 6 a.m., when the expansive spaces remained unoccupied. This solitude fostered an environment conducive to experimentation, allowing the notion of play to emerge as a central generative force within my practice.
A4X2X1M
​Cow House Studio Residency
​County Wexford Ireland 2011

Although seemingly simple phenomena often prompt my deepest reflections, it is from these moments of contemplation that broader conceptual investigations emerge. While my practice is rooted primarily in visual art, it has consistently been informed by a parallel interest in physics and mathematics. These disciplines frequently shape both the conceptual framework and material resolution of my work, not as external references, but as intrinsic structures through which form, measurement, and perception can be examined.
Mary's Table
Workhouse Exhibition
​The Hive Manchester UK 2010.
Little May Day Exhibition
The Chinese Arts Centre UK 2010
Residuum
The Holden Gallery
​Manchester School of Art
​Manchester UK 2009

Residuum emerged from the remains of Tension, an intentionally ephemeral installation created earlier in 2009 and also in the Holden Gallery.

As with all of my installation practice, the work was conceived as transient: fragile, temporary, and subject to ultimate disappearance.
Sculpture & Plinth
(Unlikely but Not Impossible) 2009
The Holden Gallery
​Manchester School of Art,
​Manchester UK 2009

Sculpture functions as a site for testing mass, volume, and balance, examining tensions between stability and uncertainty. Precarious arrangements and provisional configurations are embraced as generative conditions, where alternative possibilities emerge through iterative experimentation. The sensory and the emotional converge; perception becomes reflection. 
Spirituality Levels: Kinetic Sculpture
Start Running Exhibition
Sandbar
Manchester UK 2009

​During this period, following Still and Engine, I began to conceive of my sculptures as hybrid forms. Whereas these earlier works were assembled from materials salvaged from the proverbial “graveyard” of debris encountered upon taking occupation of a new studio, my approach subsequently shifted toward a more deliberate process of recombination. The analogy moved from excavation to intervention: from the recovery of discarded fragments to a mode of construction more akin to grafting, in which elements are transferred between entities in order to replace, augment, or transform pre-existing structures.
Engine
The Holden Gallery
​Manchester School of Art
​Manchester UK 2009

​Engine was created immediately after Still and shares a closely related narrative logic. Once again, its component parts were salvaged from the general debris present upon my initial occupation of a new studio, although in this instance the materials required a greater degree of manipulation and reconfiguration.
Still
The Holden Gallery
​Manchester School of Art
​Manchester UK 2009

In many respects, Still exemplifies a particular mode of found-material sculpture. Rather than presenting a found object in its completed form, akin to the readymades of Marcel Duchamp, this work is constituted from disparate materials discovered collectively, having been discarded within a newly occupied studio space. 
The Blind Men and the Elephant
​2022