Feb 29, 2016
I can’t work out how big you are. Or how you are standing up. Or how it feels when I touch you. Or if I’m allowed to touch you.
(Anissa Mack, ‘Cathedral (Dak)’, 2013, Can, Amethysts, Mechanical Base, 8 1/2 x 7 x 7inches)
seen from United States
seen from United States
seen from Paraguay
seen from Malaysia
seen from United States
seen from United Arab Emirates
seen from United States
seen from Malaysia
seen from China
seen from Singapore
seen from China
seen from France
seen from United States
seen from Belarus
seen from Brazil
seen from United States
seen from United States
seen from India
seen from United States
seen from United States
I can’t work out how big you are. Or how you are standing up. Or how it feels when I touch you. Or if I’m allowed to touch you.
(Anissa Mack, ‘Cathedral (Dak)’, 2013, Can, Amethysts, Mechanical Base, 8 1/2 x 7 x 7inches)
My fingernails were full of dirt and I was told to go and wash them. I quite liked them looking like that though; a clear crisp dark arch underlining my nail - a furrowed brow for my finger in one direction and a smart smile in the other.
(Max Hooper Schneider, ‘The Extinction of Neon 2′, 2015 (detail) Acrylic Terrarium, Modelled Landscape, Used and Broken Neon Signs, Plastic Flora, Gallows Structure, Automotive Detritus, Steel Chains, GTO wires, Found Objects, Insect and Animal Matter, Polymer Resin, Custom Aluminium Stand H167.6cm x W106.7cm x D61cm)
How it buzzed, and how it hurt she thought as she lay back quietly. It should look good though, and elegant (on the whole). He is quite mysterious.
(Mira Dancy, ‘Call From Violet’, 2015, Neon)
You can cup your face in your hand, your chin in your palm, until it begins to sweat. There are 16 of us now, and we haven’t even begun
(Darja Bajagić, ‘Chess 2′, 2014, Mixed Media)
Soon after, when the room empties, Ian opens his hand and shows Alexa the broken enamel shards that have gathered in his sweaty creases. She takes one and places it in the pocket of her fleece
(Stuart Middleton, 2013, Acrylic and Ink on Paper, H100cm x W65cm)
Everything in scale felt so polite. But in matter so repulsive. ‘Mixed Media’, that pink piece that you defiled with your naïve handwriting
(Tom Owen, Untitled)
Those horribly over-familiar scribbles on your favourite piece. You said that they’re not yours as if it would hide your anxiety, but it doesn’t
(Tom Owen, Untitled)
Why are you tearing that off? Because I don’t like it, but it’s not making any difference
(Alex Clarke, ‘HOPE’, 2014, Paper, Acrylic, Gouache on Canvas, H91.44cm x W60.96cm)