Work-in-progress: the painting is installed unfinished and worked on through the duration of the exhibition, with an estimated 120 hours of painting time required for completion

An oil painting made in white on the glass of a photocopier becomes a printing plate, turning the photocopier into a printing press. Papers are signed and numbered as an open edition and placed into the print trays. Viewers are invited to activate the photocopier, making their own signed print. Prints are available thoughout the exhibition (first edition concludes 12 Oct. ’19).

A remake of Jannis Kounellis’ Tragedia Civile (1975), inspired by the headline of South African newspaper, The Sunday Independent, on 25 Jun. 1995. Instead of Kounellis’ gold leaf and coat rack with overcoat and hat, a bowl of Lay’s Lightly Salted is placed on offer in front of a wall covered in flattened chip packets (of the same). On a shelf, a mobile phone is on charge, noisily receiving an almost constant stream of news updates.

A bath, with towel on towel rail, soap and bathmat are installed in the gallery. Every day before the gallery opens, for the duration of the exhibition, the artist has their morning bath. The bather is not seen, but the evidence is there in the form of a ruffled towel, wet mat and dirty bathwater.