In 1952, John Berger stated that, to discover West Cornwall’s true nature, ‘you must dig into it, turn it this way and that, simultaneously examine it in detail and weight it as a whole’. Ruben Storey’s Gwandra – which means ‘to ramble’ in Cornish, but also encompasses talking and thinking – is, in part, a series of encounters uncovering the surfaces of the Penwith region. Inspired by land art and the St Ives School of Art and combining photographic sculptures and collages, Gwandra centres on four material motifs: granite, reflecting ancient structures; plaster, used in cast moulds; gesso, a white paint mixture recalling the artist Ben Nicholson’s reliefs; and paper, for its common use as a photographic object. By elongating the process of collage from found object to photographic reproduction, Gwandra aims to examine the sculptural form and represent the plurality of space.