After years of making work in response to architectures of control Oddy began thinking about less prescriptive architectural forms. The result was Sphere, a meditative four-way video installation depicting a quartet of exemplary spherical structures. The géode cinema at Paris’s Parc de la Villette. Buckminster Fuller’s 1967 Montreal Expo geodesic dome. The decommissioned nuclear reactor at Dounreay on the north coast of Scotland. East Berlin’s Zeiss planetarium. Each of them a symbol of universality and wholeness. Each of them also encompassing a highly complex system of knowledge. By projecting the films he made of these four places onto the vertical sides of a cube Oddy brought together two traditionally irreconcilable forms. In doing so he not only asked whether architecture might be able to help sublimate our never-ending worldly entanglements but also whether it might itself be able to transcend its own mundane limits. Like Warhol’s single viewpoint action free film Empire, Sphere is an unwavering meditation on an iconic form. One which Oddy, in addition to creating the video piece, commemorated in a series of still images.