Powermatic

'Disjunction No. 3' typifies Montgomery’s interest in junk, detritus and ruin as monument, the outpourings of his practice a miasma of industrial, apocalyptic or apocryphal degradation in clay form. The complexity of technology evades and fascinates the artist, but he also finds it something to distrust — and the decision to adroitly shape its likeness in clay and then to shatter its integrity speaks of a desire to refigure its position within the human condition.