The work forms part of a larger body of sculptures that replicate standard architectural features. Made from high-grade stainless steel, the Exit Door series comprises double and single emergency door-panels fitted with push bars. The panels differ in dimensions and feature a unique set of handles. Material variants include polished stainless steel, matt black and gold, among other finishes. They are made specifically for each exhibition and installed flush-fitted; they mimic the appearance of an actual fire exit though they do not open. By removing the functional aspect of the object - its use-value - the artist draws attention to our inability to escape while accentuating its material and visual qualities.

There are clear resonances of Minimal art, in particular in the work’s reference to the machine aesthetic espoused by artists such as Carl Andre or Donald Judd. In that sense, the Exit Door series does not conform to the notion of sculpture at all, aligning itself rather with Judd’s description of what he termed ‘specific objects’ contending that ‘a shape, a volume, a colour, a surface is something itself. It shouldn't be concealed as part of a fairly different whole. The shapes and materials shouldn't be altered by their context.’¹

^{1. Donald Judd, in Perspecta 11, 1967, p.44, quoted in James Fitzsimmons, Art International, Vol 23. 1979, p.69.}