Metal, fabric, wood, vhs tape, sellotape, coloured chalk, porridge oats, charcoal, plexi-glass, ceramic.
A painting folded out into sculpture, populated with curious hybrid objects that seem to belong to a domestic setting. Circles are peeled up, pushed out, strung up to dry, half sliced and suspended. They become perfectly round and crisp aerial eggs, portals for viewpoints, and a black void smothered in charcoal that is lifted up to reveal a circle of oatmeal underneath. Fabric panels cast delicate yellow light on the scene, while strategic openings and semi-transparent sellotape curtains reveal and conceal parts of the installation as it is traversed.
Once a Fortnight touches upon intangible aspects of everydayness, in between words where things can only be evoked and approached sideways. The most ideal of mornings; a transcendental breakfast