At the start of 2024, Damien Hoar de Galvan set himself a year-long discipline in his home studio outside Boston: make one sculpture every day from offcuts and scraps of reclaimed wood. The results are small, jostling assemblages — planes butted and pegged together, edges left rough, colour applied in patches — that read as a running diary of attention rather than a set of finished statements. Shown together, as in the 2025 James and Audrey Foster Prize installation at ICA/Boston, the constraint becomes the subject.

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