Watt’s knowledge of wood is significant and defined by his skill, but his output is playful, uncanny, even grotesque. Something familiar lurks, yet it remains ungrasped: identifiable forms toy with repressed subject matters and play. The works could be collected from the forest floor, or refer to bodily silhouettes, yet they belong to an imagined elsewhere. Distinct from the everyday, all while gathering in the domestic sphere. There is humour embedded in the artist’s meticulous and precise carvings. Perhaps, even satire, as the works insinuate erotic motifs, or even, our own bodily functions. An approach so reliant on suggestion it allows for the viewer/user’s own associations to become central to the sculpture itself. Our powers for projection are rendered bashfully apparent. The sculptor’s work is indelibly marked by living in rural Oregon and the complex relationship the geography has to timber and industry. Being here, Watts stresses hyper-efficiency in such elemental terrain and the masculine coded practices of working with wood in rural contexts. The artist probes such themes via a practice that walks the line between use and playfully useless. Homely, or not quite.