Moström makes work that appears flawed and wobbled by glitches, but remains beautiful by virtue of its rich inexactitude. Domestic scale, architectural structures act as transformational backdrops to sculptural objects. These are to be looked at and walked around, but also touched, sat on, eaten. Materially rich, the work is touched and touches, physically and psychologically. It allows for, or implies, some kind of social gathering and to some extent relies on an audience to complete the work by physically engaging with it in one way or another.