The work of British sculptor Richard Hughes begins where the lifecycles of most commodities end: in piles of rubbish (“My formative years,” he has said, “were spent in a car park.”). After cruising abandoned trash and street detritus, he typically casts his finds in fiberglass. But in the case of this implicitly narrative work, Hughes has employed the most elevated of all sculptural mediums, marble, staging a vivid contrast between the found source material and the finished work.