Interim Show: Kitscape
‘Furless became unstable. Her world was ruptured by all the traumas. It couldn’t sustain her anymore. And so, another has taken her place.
Survival of places.
Look. The places are dying too.
Like dust, fragments of the room, of us, drifted down the hollow tree. Moult’s fog began to fill the Waiting room, Gown’s sickly stench with it. My labels torn and chewed, covered in Meatmouth’s bloody slobber.
I gazed from Gown to Meatmouth, Meatmouth to Moult … we all felt the palpable terror of losing our environments.
We can survive each other. We can survive him, what we cannot survive is the collapse.
And so, we wait on the Beckettian stage, but not for Godot. We wait for alignment, for climates to hold, even if it’s only temporary. Maybe we still wait for Furless. For the heterotopia of the self to stop bleeding. For all the fleshy parts to stop leaking.
But waiting is the only condition left.’ - Bleeding Between the Lines, a dialogic anatomy of the unrabbited and profane flesh. (Dissertation by Isabelle Gardner, Feb 2026)
Final Images: (see further down for planning)
Interactive, found object and mixed media installation.
Materials (please see below captions for specific information): Vintage wooden bed on wheels, 6 x 3 ft, Hand-Sewn fabric hanging peice installed with buckled straps, 12 x 11 ft,Vintage wooden chair with latex panel underneath, 2.3 x 3.8 ft, Faux fur rug with fabric collage, 3 x 1.5 ft, Papier Mache ‘tree’ with weighted base, 9 x 2 ft, Second hand lamp with fabric collage lampshade, Latex coated wooden mirror, stuffing and lace spread out across the flooring, Metal street sign, 0.5 x 3.1 ft, various made and found ‘rabbited’ objects, AV equiptment: Godox LED Video light, Speakers and MP3 player.
Research/Context: ‘The figure on display resembled the Untitled (Rabbit) , gutted, spread out, as if to promote the muchness of its violent end.
Museum of the self.
Yes. I’m afraid it is true.
Furless is no longer the being we knew, she’s now a thing to be gawked at.
Don’t look! She doesn’t like it!
But she is beautiful.
The beauty of blending a human-like predation with rabbited prey; caught between memorial and exhibit. There was something so intimate about the gentle and careful braiding of skin, the deliberate placing of flesh.
That tenderness made the violence more horrifying. Like the starkness of a child’s dungarees with blood splattered across them.
Merged predator and prey.
Need him. Don’t like when he’s here.
I understood, because when I looked at the figure, I felt that I was witnessing a manipulative parent, caressing their child after each stinging slap. Like Smith’s sculpture, Furless’ corpse had been curated as object-body, moulded into a kind of disgusting specimen. Trauma here did not vanish, it calcified into ornament, crystalised into objecthood, edible and repulsive.
I don’t like those sweets.’- Bleeding Between the Lines, a dialogic anatomy of the unrabbited and profane flesh. (Dissertation by Isabelle Gardner, Feb 2026)
Developmental images (process and planning for Interim)
Prior to the Interim show I presented my work in the AV room of the University of Reading Art Department, to experiment with layout, lighting and to experience the practical side of this specific installation, i.e practising hanging the fabric peice, installing the sound equiptment etc. I was very satisifed with the outcome of this, and whilst the dimmer lighting created more contrast within the objects themselves and shadows formed around them- I actually felt that more abrasive brighter light would provide a sterile, surgical atmosphere within an industrial space and that contrasted nicely with the vintage furniture and decor of the room elements. This also flowed with the sound choices of knocking, clicking and whirring, making the environment more cohesive. Reflecting on this experiment, it was clear that this layout was too condensed and saturated, each element needed some spae surroundign it so that they could be appreciated induviudally within an enironment. Pulling the objects/furniture out meant that viewers could engage more and move through the space rather than staying on the edge.