Attention, 2020
Published by the Royal College of Art, London

The treatment chair is cerulean blue, on four rubber wheels, and dressed in a single strip of paper roll; rough roll on a sponge chair, corpulent corners rounded like a fleshy pill. Press down fingers to dent a sleek surface: a sheen pinched from lamplight, its source pointing at the chair behind. It is the one source of light, the one stuck to a horizontal plastic panel punched with precision with small holes for—what? See sockets, certified adaptors. See spare silicone tubes: a yellow one, a green one, and translucent ones that jut from the panel and sprawl. They don’t hang in neat rolls, the ones coiled by hand.

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