Sarah Entwistle (b. 1979) works across multiple forms and often with found ready-mades to develop sculptural arrangements that recall interior still-lives. These assemblages take their visual and conceptual cues from the informal archive of her late grandfather, architect Clive Entwistle (1916-1976) a manipulative figure whose numerous female lovers were drawn into often masochistic dynamics. In her first solo exhibition in Berlin Entwistle continues with the practice of spoliation in its expanded form, of borrowing and adaptive re-use of material from earlier constructs. Her extended practice, a form of inter-generational processing both literal and metaphysical, is presented here through the accumulation and assembly of sculptural elements, video, figurative sketches, and woven tapestries. A collection of metal offcuts, industrial scrap, and crushed steel shelving units sit in still-life together with hand woven tapestries, ceramics and lighting elements that allude in scale, form, and composition to a domestic interior arrangement. A recurring motif of hands, seen as the conduits for caring and the cat’s paw knot as the allegorical structure of inter-generational exchange are explored in the video work, The dupe of another, and in figurative studies on paper.