Horn’s work paradoxically encompasses qualities of pure form and lyrical narrative content. Bouquet of Emily is a group of six aluminum bars leaning against the wall, each featuring a fragment of text from letters sent by the renowned American poet Emily Dickinson. However, when viewed from certain angles, the phrases and letters of the alphabet are deconstructed into pure forms. Meanwhile, Gold Field is suffused with a lyrical atmosphere, evoking perhaps, an undulating water surface or a mountainous landscape. This work, a mat made of pure gold foil, removes the material from its loaded cultural context and reduces it to form. What does this work, which in terms of scale recalls a person lying on the floor, say to the viewer through its luminosity and ceaseless subtle rippling?