In Passenger with Horizon, Lawrence employs a diverse range of quotidian objects seemingly plucked from his daily routine—the train ride home, the corner of the office, the floor of a shopping mall. However, this is where the familiarity ends. Through careful attention and experimentation, Lawrence recasts these often mundane subjects as new forms – sometimes sadly awkward, sometimes positively elegant – and confuses their placement on the cultural spectrum of high to low. Objects are presented as low-stake disruptions and reverberate with an aimless, transient energy. But they also read as allegorical case studies, phantoms of metaphysical inquiry testing Positivism’s triple mantra of Description, Control and Prediction.
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