A two-piece polyester lace suit (Light Salmon)—fragile today.
Just a Breeze and she’s struggling.
Harvest season is coming, maybe it has something to do with it.
The air: sour. A breeze for sure, but sour.
The lace vs. the accelerating movement of nature.
Piss-drained faux velvet (Once Falu, now sun-bleached to sheer chestnut) vs. the increased size of the seagulls.
Apostrophising and opposing each other—confronting, then avoiding
A stare-down of puritan distaste—next up: in consensus
Conflict, peace—etc.
From the observer’s view: autonomous interpretations of the biological struggle between life and death, one could assume, and it seems to be
spiraling spiraling spiraling. Very much a bourgeois catharsis, straight up: an opera.
The violent kind, an intergenerational constitution—and the discomfort she feels is grief.
It’s a complete understanding of:
the decayed modern entertainment industry, the remains of its experimental biotechnology
and all the other pleasures of the material world—not to mention, the deprivation of treating oneself with a neat festive set of factory-fresh nylon.
Though the material world never got boring—nature was work, messed up, tbh.
Unlike the ensemble of the opera, humbled by their endurance* act of overstaying their visit (scent: hyrax, ambergris etc):
The menace of nature provokes in arrogant waves; Light to light white, off-white, to light light beige, to medium cream beige, to a deeper camel beige, to cheap mineral light, to light light gold, back to light light white—a gas-like white. To off-white, and so on.
You could have—I know I would, expected a touché of blue (probably something like light pigeon) somewhere in there, but no.
Altogether: the uncanny conditions for a backwatered intermezzo—and gosh they’ll get tired,
They will get so, so, so tired!
* the capacity to maintain a certain level of physical output for a prolonged period without succumbing to fatigue
Images:
01.
Europá (2025) Cardboard, chicken wire fence, reused furniture fabrics, foam rubber, sewing thread, coffee, black bile, tinctures of hyrax- and goat hair, 99 x 200 cm. Photo: Esmeralda Ahlqvist
02.
Thomasinés (2025) PVC pipes, chicken wire fence, faux leather, foam washcloths, reused blankets, duvets, rubber foam, tape, mesh, acrylic paint, hay, sewing thread, plastic chair, phlegm, tinctures of ambergris, 63 x 146 cm. Photo: Esmeralda Ahlqvist
03.
2nd Bride (2025) Chicken wire fence, oilcloth, foam rubber, reused furniture fabrics, tape, dirt, faux leather, sewing thread, yellow bile, bolognese with hot-and-spicy BBQ sauce, tinctures of aldehydes, agarwood and rose, 85 x 200 cm. Photo: Esmeralda Ahlqvist
