In Plain Sight
The Painting Rooms
London, 2026
Curated by Jack Guinness
The stained glass works are made from recycled cathedral glass. The material arrives carrying an earlier architecture within it. It has already spent time filtering light through another building and already belonged to a structure that organised how bodies looked through it. I begin by breaking those sheets apart. The break produces information that I could never have drawn in advance, and the work develops by responding to the structures that become possible afterwards.
UN/MAKING FIXED FORMS. A fragment can enter another relation while continuing to carry the rupture that produced it. The lead joins make that history visible. Light does its thing...
At In Plain Sight, these works were installed in the same room as the AIDS Memorial Quilt. That proximity made the question of joining more charged. The Quilt gathers fragments that remain irreducibly attached to individual lives while producing a collective body through their relation. I became interested in the distinction between reassembly and repair: bringing parts into contact can produce a new form without asking rupture to disappear. The stained glass enters that space through its own material history, holding separation visibly while allowing each fragment to be altered by what touches it.