Linington’s practice explores ideas of personal and collective memory and the artist's role within and without society. In his early career, much of his work stemmed from performative actions, setting himself Sisyphean tasks - allowing him to detach his mind from that making process in an effort to be a purer conduit of the artistic experience. He began to collect, categorise and store the material debris of all of his studio and performative activities, and even of past artworks broken down. This vast archive of sifted and sorted detritus now forms the bedrock of his continuing practice and will appear in various forms within his installations and spatial interventions. It is at these moments when there is an intersection between personal, collective and trace memory that Linington’s work resonates most clearly.