There is a Darwinian approach to much of Ponmany’s practice, as he continually reorganises and reinvents reality. Rebranding by digitising, Ponmany duplicates figures in electric landscapes that are stylised beyond comprehension were it not for the reoccurring markers and motifs of figures and skyscrapers that appear in his works. Using plastic paints, silver holograms, rich pigments of colour and distorted photographic-negatives, Ponmany is as interested in the production of his works as he is in the object that exists thereafter. Staple Agony II, Plastic Memory is a work that might appear to come from the lyric of a Radiohead song, in which the solitary shell of a hooded figure is seated at the centre of an enclosed space with what appears to be an industrial staple-gun, illuminated in orange, floating in the foreground.