[Macklin] is unique in his ability to work with essentially the same motifs on any scale, from tiny ceramic table sculptures in porcelain to enormous steel constructions... Macklin’s extraordinary ability to build overall configurations from side-by-side attachments may account for both his poetry and mastery of scale.

Steel and concrete, those quintessential materials of industrialization and urbanization are given a new lease on life in Ken’s newest works. The glorious plasticity with which he uses both materials, the way he “folds” the concrete, the way he shapes the steel in organic shapes and biomorphic ways, and above all the way he over-paints with colour with the immediacy of graffiti artists — when we put these together, Macklin teeters us back and forth between nature (a constant in his work and life) and built environments.