Lisa Herfeldt at Between Bridges

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The reason we've gotten into upholstery, into couches, chairs and gotten into sleeping bags, is that they infer us, they contain the ghost of the human they were made for. Every chair is a bodily innuendo. Every couch is suggestive. An "excess content" in implication. Making things look like other things, creates the vapor that there is something further there. The pervert knows what the decorous don't.

Jochen Lempert at Between Bridges

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Taped like gift wrap to walls, the curling paper stresses the physical precariousness of silver held gelatin. Grain clinging like dust to paper; eyelashes etched into the silver they prevent from falling into the black iris behind it, which is poetic. The overt romance balanced not so much by an attachment to science, but just the basic desire to show: "Trained as a Biologist" it is easy to say that Lempert provides a sort of phenomenological augment to any scientific illustrativeness, that like Audubon who upset the world of avian illustration by depicting accurate birds in naturalistic motion (as opposed to the stuffed rigidity of classificatory diagram common to the time it) was realized you can learn two things about the world at once.

Anders Clausen at Between Bridges

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 You could believe these feathers of various metals and materials are strange turn for Clausen, coming from cold micro-interaction of detachment's emotional resonance, of interface a replacement for interfacing, but its is the same form of emotional micro-attention, of feathers beginning to look like birds with brand strategies. Maybe it's hard to tell the difference between fetish and sentiment, or between a fetishistic attention to detail and tenderness, fastidious and compulsion.

Greer Lankton at Between Bridges

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The doll presupposes its animation, and these, decommissioned, await life mausoleic. Toys surveilled so under the guise of conservations eternal life they may never play again. Perhaps this why every Lankton press release reflects back on the past, to times of vivid scenes of famous friends spirited, Lankton's and other's photographs of the dolls from that time seem so much more interesting than them behind glass today, photography an elegiac art, these now dead bodies.

See too : Greer Lankton at Participant Inc , Nicolas Ceccaldi at Mathew