To the right of Raspberry-Jail a third work is sited, floating just above the floor. Maersksealand continues this depiction of natural forms with star formations (a coarse imitation of the Maersk logo), thick kelpy leaves, scallop shells and a scattered typography squeezed in amongst them on a scratchy black background. The imagery is no coincidence when considered alongside the work’s title. Taken from the global shipping company it alludes to the environmental impacts of capitalism and globalisation. 

Maersksealand contains the most limited colour palette in the exhibition and has the flattest surface both pictorially and texturally, giving it a lightness not found in the other works. Installed in front of the gallery window it becomes almost translucent in areas that are under-worked or where the cloth remains bare. A pink hue on its reverse-side is set off by the reflection of the salmon-coloured building outside, intensifying the coral and green tufted stitches. 

The ability to be able to view the works in the round results in them occupying a space that is both two and three-dimensional. We are made to think about our body in relation to them: in terms of their scale, their function, as well as their value. We are made to look straight on to these works when they might normally be underfoot or perhaps even wrapped around us.

As with hsbc we are able to view the back of Maersksealand where we find the front-side’s points of origin, a hectic root system of taut lines made discreetly visible. Newby reminds us of his aims to break down hierarchical thinking around production and manufacturing. He doesn’t shy away from providing us with an insight into every aspect of his making process, explicitly revealing many elements of production that would conventionally be concealed or tidied away before being bought or sold. Newby gives us scruffy, irregular edges; rogue fibres falling out and threads knotted and precarious. The works are raw and very much alive with their own individual identities.