Rooted in the language of materials, Charlie Franklin’s work breaches the borders between sculpture and painting. Often minimal, it focuses on the physicality of presence and absence through methods of mark making and erasure. With an interest in flatness and form, Franklin is attracted to materials that hold little structural integrity; things that are hollow or floppy such as cardboard boxes, swathes of canvas or sheets of tarpaulin. The skin surface of these core materials are transformed and become masked and misshapen as they are painted, collaged, gilded or wrapped. As layers are built up, the behaviour of colour is considered as it meets, mingles and sits together. The scale of her work varies, and often depends on the size of the particular material she is working with. Franklin likes the ritual of taking something and changing it, which she views as a minor form of alchemy. Her work ultimately deals with this process, and the ways in which objects can hold power.