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Text by Lydia Eliza Trail
I have not seen such frivolity since Saatchi Yates invented SLAWN. I thought this would be a tasteful exhibition, exploring the Toy as a bearer of that which is neither here nor there, revealing innermost childhood traumas and psychological scars through tastefully abject dissections. Instead, I seem to have entered the entrails of Joanna Lumley’s Surrey home. I did not attend Cambridge’s tri-partite art historical re-enactment survey and introduction to Renaissance ethics master's programme to spend my time alongside such preposterous, uncouth, slanderous crusades against my God-given role as a woman of cultivation.
TOYS! TOYS! TOYS! appears to be a post-lapsarian vision of perverse authoritarianism and en masse, egregious paternalistic issues. A Baudrillardian celebration of falsity via vajazzled, phantasmagorical projections. The room was, for lack of better words, as if Madame Tussaud had liquidated her wax estate into a showroom of adult regression-tinged…
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Press Release
Text by Lydia Eliza Trail
I have not seen such frivolity since Saatchi Yates invented SLAWN. I thought this would be a tasteful exhibition, exploring the Toy as a bearer of that which is neither here nor there, revealing innermost childhood traumas and psychological scars through tastefully abject dissections. Instead, I seem to have entered the entrails of Joanna Lumley’s Surrey home. I did not attend Cambridge’s tri-partite art historical re-enactment survey and introduction to Renaissance ethics master's programme to spend my time alongside such preposterous, uncouth, slanderous crusades against my God-given role as a woman of cultivation.
TOYS! TOYS! TOYS! appears to be a post-lapsarian vision of perverse authoritarianism and en masse, egregious paternalistic issues. A Baudrillardian celebration of falsity via vajazzled, phantasmagorical projections. The room was, for lack of better words, as if Madame Tussaud had liquidated her wax estate into a showroom of adult regression-tinged…
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