A key element within the practice of Richard Hughes is the notion of time—of time passing—of wasting time—of the effect that time has on a place or an object, how it deteriorates and changes, how it can be transposed elsewhere. His exhibitions posses an ability to create a sense of time-lapse, creating environments that cannot be placed and which become re-structured narratives. Hughes’ work draws from a multitude of references—cultural, social and historical, as well as personal—each reference being filtered through his own immediate experience, as if pulled from the catalogue of things that are around us: TV, music, beliefs, stories, the places we visit on purpose and by accident, aspects of our upbringing, reactions to our circumstances. Appearing as familiar, sometimes everyday objects or structures, these meticulously constructed sculptures are painted casts from polyester resin, they are created replicas of discarded, useless items, which have long passed their best days. Hughes gives them a second life, suspending them at a point of deterioration. Imbued with a morbid humour, his practice also makes reference to Victorian graveyards, memento moris, his own upbringing within urban and suburban locations, such as his hometown of Birmingham, the 1980s and 1990s and their various subcultures. Hughes’ works might be seen as literary-autobiographical assemblages that evoke notions of abandonment and memorial—but which can also create a sense of the enchanted and the sublime.