Graphic interplay between revealing and disguise - the opening steps of this show immediately corner you. Two paintings; ‘Steve’ (2015) the back of a pair of spray-onjeggings or jeans, hieroglyphic of the contemporary age, and ‘Fin’ (2016), who is physically hung away from the incoming guest. Like an awkward party, your first greeting upon entering Cornelia Baltes’ solo show at Limoncello generates a set of assumptions which you must endeavour to enable or dismiss in a quest to figuratively define the work.
Cornelia Baltes: Drunk Octopus Wants to Fight
Sophie Risner, this is tomorrow, February 2, 2016
