The group of sculptures gathered here feel like the remnants of some stranded explorer’s dedicated toil, the evidence of an island-bound prisoner bent on making the most of his imposed yet paradisiacal isolation. And it’s this placid, oceanic mood that dominates “Dreams Chunky,” Jack Lavender’s first solo show at The approach, amplified by the sunlit water pattern of the laminate mat that covers most of the floor of the first gallery. A suitably aqueous soundtrack fills the room unobtrusively, emanating from a retro-futuristic ghetto blaster that hangs from a metal chain, hovering over the plastic floor like a strange totem (Falling Waters, all works 2013). There is an ethnographic quality to the young London-based artist’s work, and a slight nod towards the supernatural properties bestowed upon the material traces of foreign cultures, like in Melanesian cargo cults. An assembly of nimble assemblages of found objects, like flotsam washed up on the seashore. Yet on closer inspection, there’s a logic to their organization. Consider Dreams Chunky 3, for example, where a series of elements—including hooks, a paint tube, a glass leaf and glass bottle, plastic fruit, a dog toy, a crystal pineapple, and a Spiderman-printed canvas—appear ensnared in a metallic grid, like …