Moyra Rose Davey

Offerings

Unlike other social systems that derive their power from definition and structure, friendship derives its power from unstable elements. Its participants continually negotiate and regulate its shape, rules, and scope, while being able to enter or leave the field of

Moyra Rose Davey

Offerings

Unlike other social systems that derive their power from definition and structure, friendship derives its power from unstable elements. Its participants continually negotiate and regulate its shape, rules, and scope, while being able to enter or leave the field of

dys4ia

Emotional leisure

  Those in power have always been obsessed with how other individuals choose to spend their leisure time. They demand to know what might constitutes ‘free time’ for the individual, particularly in terms of the materials consumed in doing so.

dys4ia

Emotional leisure

  Those in power have always been obsessed with how other individuals choose to spend their leisure time. They demand to know what might constitutes ‘free time’ for the individual, particularly in terms of the materials consumed in doing so.

tesco

Bad behaviour

Recently, I watched a documentary where an older woman described watching a film of her younger self in a children’s mental health institution. Viewing the footage, she recalled the difficulty she experienced as a child of matching her emotions to

tesco

Bad behaviour

Recently, I watched a documentary where an older woman described watching a film of her younger self in a children’s mental health institution. Viewing the footage, she recalled the difficulty she experienced as a child of matching her emotions to

Burner Identities

  The anecdote is a type of shorthand narrative that neither relies on factual verification or general acceptance. Rather, it is an uneasy form that can be deployed both as personal evidence and future parable; it vouches for and validates

Burner Identities

  The anecdote is a type of shorthand narrative that neither relies on factual verification or general acceptance. Rather, it is an uneasy form that can be deployed both as personal evidence and future parable; it vouches for and validates

wendy

The Happy Hypocrite #7: Heat Island

On the morning of 4 July 2013, I walked down the baking streets of Manhattan’s Lower East Side with Dena in search of air conditioning and a place to talk over what we might each contribute to the next issue

wendy

The Happy Hypocrite #7: Heat Island

On the morning of 4 July 2013, I walked down the baking streets of Manhattan’s Lower East Side with Dena in search of air conditioning and a place to talk over what we might each contribute to the next issue

venus anadyomene 2014

Elaine Cameron-Weir: Metabolic décor

ILY: I’ve always been intrigued by your use of perfume and scent as a material in your sculptural work. Perfume seems to work on a chemical level of aesthetics. It demands narrative to even speak of it at all. I

venus anadyomene 2014

Elaine Cameron-Weir: Metabolic décor

ILY: I’ve always been intrigued by your use of perfume and scent as a material in your sculptural work. Perfume seems to work on a chemical level of aesthetics. It demands narrative to even speak of it at all. I

Dena Yago, Fish Oil, 2011

Life on Heat Island: Dena Yago

  Isla Leaver-Yap: Many people first encounter your work through your poems and prose. Your texts often precede the exhibition, but also serve as the primary documentation after the show has come down. So words appear as a “primer” to

Dena Yago, Fish Oil, 2011

Life on Heat Island: Dena Yago

  Isla Leaver-Yap: Many people first encounter your work through your poems and prose. Your texts often precede the exhibition, but also serve as the primary documentation after the show has come down. So words appear as a “primer” to