The large-scale installation in the second gallery, Drift, was first shown at the Irish Pavilion of the 58th Venice Biennale. It directly engages with the detritus of consumer objects that accumulate around these historic sites. Cans and hexagonal prisms pile up against a wall of concrete blocks, forming a barrier across the room. This sculpture speak to the effects of coercive and monumental architecture, exploring how objects acquire power and how that power may be co-opted by the individual. Rothschild works with both traditional and new materials, such as bronze, gesso, rebar, plaster and concrete.

Rothschild’s sculpture comes about through accumulation, both as modular units of lattices and blocks and by the massing or stacking of cast objects. This intentional seriality is explored in Tribute, installed in the first gallery. Belonging to a family of loosely pyramidical works; Amphi, Venice Biennale (2019) and Parsloes Memphis, Dagenham (2022-present), Tribute posits a form that can expand exponentially. The elements are made from steel rebar rod and cast concrete, the open structure landing somewhere between abandoned playground and emerging architecture.

For Hollow Moon, one of two new bronze sculptures, Rothschild carves stacked head-like forms from polystyrene before transposing them into metal. This transformation has a haptic effect as the crumbling texture of the ‘disposable’ material is permanently set. She further subverts use value of materials in Plateau where the rebar we have encountered as a structure in Tribute, is twisted and squashed into an organic tangled mess without any possibility of regaining function.