Jim Lambie takes the ephemera of modern life and transforms it into vibrant sculptural installations. Working with items immediately to hand, as well as those sourced in second-hand and hardware stores, he resurrects record decks, speakers, clothing, accessories, doors and mirrors to form sculptural elements in larger compositions. Lambie prioritises sensory pleasure over intellectual response. He selects materials that are familiar and have a strong personal resonance, so that they offer a way into the work as well as a springboard to a psychological space beyond.

Lambie's works are often devised in relation to a specific space, where they are shaped by a series of intuitive and improvisatory decisions. This enables him to work in tune with the qualities of his materials and the parameters of the existing architecture.

Here, Lambie presents the latest in a series of hypnotic works made from vinyl tape applied to the floor. Triangular shapes expand outwards from the corners of the room and are combined with areas of cross-hatched tape, an action Lambie describes as 'shading'.

This work forms a kaleidoscopic platform for his sculptures: specially commissioned enlargements of bird ornaments, found in junk shops, are subjected to a characteristic process of customisation. The installation is named after sixties rock band The Kinks, whose silhouettes form the black Rorschach shape on the wall. Lambie's prime concern, however, is the immediate encounter between viewer and work.

Rose Ruane followed Jim – who studied at Glasgow School of Art – from night clubs to the Scottish islands and helped him make and install his signature bedazzling floor and colour drenched sculpture.

Jim has been nominated for his exhibitions at Anton Kern Gallery, New York, and Sadie Coles HQ, London.