One of the rubbings found another use as a backdrop. Hung on the studio’s white wall with painted card cones set in front of it, pink and green and yellow, a camera on a tripod facing the lot.
The work kept moving between things. Painting, then rubbing, then a flat printed cloth standing in for a set. I liked that it would not settle into one object.
The Bowie spiral behind the geometric shapes, doing a job it was never made for.
Part of the David Bowie case study.