When work is placed into a gallery, it is automatically superior, which led me to think about how the forbidden act of touching a work of art is said to lead to deterioration of the work and its value. I am interested in these restrictions we give ourselves when placed in an institutional space. As children we are told not to touch pieces in museums and are taught to treat these objects with reverence beyond their material value. My work collates ideas and investigations into haptic perception, association and relationships between art and viewer. I am interested in the fetishistic potential of objects – how forms in their different compositions can induce tangible sensory associations – becoming more than simple surface and colour to take on a symbolic existence. The more organic shapes in my work bear the physical traces of my touch, thus instigating the viewers’ own desire for tactile contact. Yet, by locating the work in the gallery, the urge is restricted; forbidden by the unspoken rules of the institutional setting. I feel I am transforming banal everyday materials into something of status, invoking the reverence I used to feel as a child.