π₯β±οΈ Forged in Pandemonium: the Concept Pieces
The companion piece to Mutation Quartet, four concept pieces cast in wax and copper after leaving university, the year nobody thought a two-person module was worth marking.
Standalone essays, letters and reflections with no project to hide behind. Memoir, polemic and cultural bloodletting for the things people think but rarely say out loud. Pre-chewed truth isnβt truth.
The companion piece to Mutation Quartet, four concept pieces cast in wax and copper after leaving university, the year nobody thought a two-person module was worth marking.
A half-arsed flower park in Sweden, a near-black dahlia my father and I grew every year, and what’s left of care once it can’t save anything.
On British working-class language, tone policing, and what happens when ‘ta’ and ‘luv’ get mistaken for unprofessionalism. Warmth as class marker, not small talk.
What a seventeenth-century maritime cock-up reveals about mission statements, national branding, and the tyranny of the well-maintained surface.
The first thing is the noise. Coins on coins, a thousand 2ps shoved back and forth under glass, the whole arcade roaring with it, and somewhere underneath, the electronic gurgle of machines promising more than they ever paid. That and…
Found where a substantial amount of do-gooders bloom the loudest and the weakest minds in the room sets the rules. This is a written response…
Crowdfunding tuition for an accepted student bridging working-class roots and elite art education.
This text is drawn from the Rotwhite Archive, expanded here as a written companion to Decay for Clout. The Rotwhite Expanse is not a place. It is a diagnosis.
This text was written as a companion to The Sweetness of Damage. A condensed extract was submitted as part of a written portfolio application to the Royal College of Art. What follows is the original text from which that extract was drawn.
This text was written as a companion to Undulating Husk: Memory Vessels. A condensed extract of approximately 200 words was submitted as part of a written portfolio application to the Royal College of Art.
This is a journal entry written at the time of Muffin’s passing, reproduced here as part of the Corrode & Crown archive. It is the source material from which the work developed.