Rachel Harrison’s work draws from a wide range of influence, wittily combining art historical and pop cultural references through a diverse play of materials. In Nose, Harrison’s figure towers on cardboard box plinth as an abject gargoyle, adorned with joke shop schnoz. Grotesque and funny, Harrison’s humour derives from its carefully structured, yet open-ended suggestion, each element building up to a plausible punch line. Using visual language as a subversive tool, Harrison parodies expected comparison to artists such as Franz West and Paul McCarthy, appropriating styles and motifs with subtle knowingness, wielding artistic process as a zany mode of investigation.