The larger-than-life tap painted in the centre of this work has all the signs of hasty application. Rendered in spray paint on cheap trade-store polystyrene, then propped out from the wall, it looks casual. The above-human scale gives the work a drama that exceeds the ordinary nature of its image and forms.
Like Simon Denny’s other early sculptural works, And Still Faster resists its supports – the wall and floor. It appears to lurch and teeter. The material capacity of objects is stretched, as if they are attempting something outside their capability.