This work emerged from Nguyen’s participation in Reassemblages, a Central Saint Martins project centred on engaging with the British Artists’ Film and Video Study Collection. Framed through three core research themes—performing the archive, performing the architecture, and performing the retrospective—the piece probes the unstable nature of knowledge production. Rather than fixed or definitive, knowledge is presented here as a process of continual reactivation, reinterpretation, and embodied encounter.

Though not an installation in the conventional sense, the sculptural series of suspended cubes channels a distinct socialist impulse. Each cube encases objects found on the London Underground—items subtly evocative of collective labour, dissent, or the quiet persistence of resistance, such as traces that recall the presence of a striking worker. Preserved in stasis, these objects become artefacts of urban life, inviting scrutiny of hegemonic power structures and the mechanisms through which they shape the mundane.

The geometric form of the cube—rigid, manufactured, systematic—functions as a metaphor for modernist architecture and urban planning. These encasements echo the ruptures of privatisation and late-stage capitalism, where the built environment mirrors and enforces systems of control and exclusion. Presented like urban fossils, the sculptures gesture toward a deeper archaeology of place—one that foregrounds the social and political forces that displace, fragment, and silence.

By fusing archival research with sculptural practice, Nguyen’s work invites critical reflection on how cities evolve and whom they serve. It is a quiet but urgent meditation on the intersections of infrastructure, memory, and resistance—an invitation to reconsider the socio-political narratives embedded within the architecture of everyday life.