An installation of domestic discard intended for haptic interaction.

Spread over two floors, Relational Abjectives comprised a solo show of audience interactable and participatory works created using the embodied personal ephemera of discarded clothing, re-animated via sculptural wall and floor works.

Four works offered haptic engagement via fleshy protruding pumps which hang or trail upon the floor. The wall works create an ambiguous link between pump and sock, forcing the viewer to be both curious and attentive when choosing to activate a spot. Whilst some are inert, others are grotesquely fulsome and responsive to interaction. Activation as re-animation, creates an aura of the uncanny, the ghostly body reformed within the partial clothing, not the whole foot but a fragmentary element is activated in dis- conjunction of hand and foot action, with viewer hand moving absent foot.

Relational Abjectives offers a formalised structure of spots, calling forth the antithesis of Damien Hirst's Spot paintings (2012), made through hidden labour, vast hours of wear and tear by foot within shoe to create an embodied drawing of earth and body contact. Unlike Hirst’s impersonal, flat circles, these spots are full of contour, shade and character. Where perforation turns into hole the void creates an orifice inviting the eye to peek voyeuristically though, into a world of sock vision – a distorted greyed world of shadow and form. With light flickering through the hole, the viewer momentarily forgets the abject origins of this most unusual telescope and strains closer to the aperture for a better view, before the realisation of proximity to such an ignoble object turns fascination into repulsion.

On the lower ground floor audiences were invited to create a self-supporting structure from the fastening strips of garment buttons and buttonholes, a bodily cage without a body, forcing elaborately contorted constructions of neck, wrist and chest, all ages conjoined.