Kerr’s work seemed like a commercialised form of arte-povera, consisting of the cheap, knocked-down, parallel imported detritus of bargain shop ephemera. Kerr cluttered the gallery with aquariums of lycees floating in turps, a bowling alley made of cheap balls and empty bottles of fizz whilst visitors unintentionally crushed water crackers that the artist had patterned on the floor. As a centre piece Kerr enacted a chemical spill, fumigating the gallery with the abrasively noxious environment of the plastic industry.
