The ongoing series of sculptures takes its cue from a news story: in February 2019, in Southwest Philadelphia, a Real Estate developer escaped an amateur guillotine made from a butcher knife taped to a crutch that was hidden in one of his properties, apparently designed to kill him (https://www.youtube.com/watch?v=mP292vcPlRs). Although the physicality of the guillotine-object stands out, so does the trap-like quality of gentrification and the Real Estate market, which raises questions on what safety means and for whom it is intended. These objects challenge notions of politics and psychology, as well as formal and theoretical problems related to art. The work merely consists of a series of makeshift traps that take on the status of sculptures. Perhaps, by extension, all sculptures and architectures fall within the category of trap.