The structure suggests a figure, slender and upright, a chocolate-coloured, tripartite pole at its centre; rolled tubes of woven matting/tape saturated with pigment suggest a complex ‘head’. From this “head,” sections of translucent plastic tubing are suspended with cable ties with, allowing them to swing freely in the wind and glow in bright sunlight. The top of the structure extends into three thin orange rods, which quiver (beckoning, inviting) in the breeze. The open forms and bright colours are seductive. At the same time, deep shadows form in between the rolled tubes of woven matting/tape. Their edges trail off into black, spiky projections or hairs, like defences against potential predators. The title refers to Giuseppe Arcimboldo (1527-1593), the 16th-century Italian painter who is best-remembered for his paintings of fruit, vegetables and seeds arranged to suggest human faces. The connection is certainly tenuous and fleeting, perhaps only that this structure’s fructiferous ‘head’ recalls the lush paintings. Or perhaps there is a little more: the painter Arcimboldo assembled a cluster of forms to create a recognisable image; here, too, a mass of forms suggests another object, entirely different from any of its constituent parts. That object isn’t familiar, though. Perhaps it has yet to be made.