It makes sense that the site of DCA used to be Scott Myles’ playground. Back then he was a skater boy and it was a bricks-and-mortar garage re-imagined as the sort of makeshift skate-park for local heroes and future high-flyers, which, under the Scottish Government’s recently imposed changes to public entertainment licensing laws would today be illegal.

For his first major UK solo show, the Dundee born and trained artist has reclaimed the building’s interior with an even more playful flourish in DCA’s latest world-turned-upside-down subversions of everyday work, rest and play. Mass production consumables are reinvented for some half-remembered dreamscape as retro Habitat reproductions are painted black and stuck to the first gallery wall, while a swivel-seat skeleton on a chat show platform has a giant prism where its seat should be.

‘STABILA (Black and Blue)’ is a series of 24 screen-printed images taken from courtroom evidence of the injuries incurred when one workie attacked another with a spirit level on a Glasgow building site, turning tools you can trust into weapons of another trade beyond the flesh wounds and hard knocks of Auf Wiedersehen Pet style manual labour.

The trail bridges into the second gallery, where the sort of imagined red-brick wall that did for John Wyndham’s Midwich Cuckoos is split into a full-size 3D jigsaw. The word ‘BOY’ posted up in orange letters on 1980s hoarding conjures up the clatter of baseball-capped, baggy-panted hip-hop. It’s a gang mentality that’s reflected too on the two bus shelters painted perfect silver, one on top of the other to loiter with intent beside. Emotional debris of a different kind can be seen in the oversized folders customised with splash-paint splurges that cause Myles’ filed-away ideas to spill over into a stoner’s paradise. That’s livin’, all right.

Dundee Contemporary Arts, until Sat 10 Jun