Lee Machell situates his practice within a vocabulary of commonplace objects that he invests with the status of sculpture. The main concerns of Machell's practice are its object centric sculptural statements and the orchestration of his work often calls for a topographical understanding of the space it occupies.
In the works on paper each work's inception is an object which Machell, with minimum intervention, uses to create drawings that synthesize the various elements of his practice. In Cap (2013) Machell delineates an oil paint tube's screw cap with matches; as the heat permeates the plastic it captures the object’s minute detail on paper.
Machell's sculptural works continue the reductive approach inherent in his works on paper, such as Handle (2012) in which two paint tubs’ handles interlock to create a loop. As previously distinct objects - one part is “male” and the other “female” - a simple action serves to unite them as a sculptural entity that rests weightlessly on the floors’s surface.