Alan Michael, Alexandra Bircken, Anna Clegg, Calvin Marcus, Eric N. Mack, François Durel, Graham Wiebe, Hamish Pearch, Hilary Lloyd, Jan Vorisek, Jasmine Gregory, Jef Geys, Josef Strau, Joel Wycherley, Justin Chance, Kayode Ojo, Kembra Pfahler, Michael Dean, Michel Majerus, Oscar Enberg, Patricia L. Boyd, Rafik Greiss, Remi Ajani, Ser Serpas, Stuart Middleton, Tiago Francez, Tobias Spichtig, Tom Burr and Win McCarthy
Edge of Refusal
20.02.26 - 12.03.26
Conor Ackhurst, William S. Burroughs, Jill Mulleady, David Ostrowski, Cosey Funni Tutti and Tobias Spichtig
Untitled, 2025
Charcoal on paper
42 x 30 cm
This exhibition brings together works that operate at the limit of resolution. These are not preparatory forms. They are not gestures waiting to be completed. They remain active within their own conditions. Limited space. Compressed time. Uneven access. The choice to continue working within these constraints is deliberate, not circumstantial.
Here, the page functions as structure. Not as theme. Not as medium. It permits action without scale. It allows for decisions without permanence. Historically treated as secondary in the form of sketch, study, or draft, the page has supported practices that exceed the formats through which value is assigned. This exhibition does not attempt to elevate that status. It inhabits it.
The artists in Edge of Refusal work within this surface tension. Jill Mulleady presents a monoprint compressed into a single instance. The image resists reproduction. Cosey Fanni Tutti reactivates imagery from pornographic print culture. These materials are not nostalgic. They remain in motion. They were never static.
Drawings by Conor Ackhurst and Tobias Spichtig suspend form at the point where image does not settle. What appears is provisional. What remains is unresolved. David Ostrowski reduces visual language to a minimum. Nothing is clarified. Nothing is added. What is visible is a decision not to expand. William S. Burroughs works through fragmentation. His collage breaks sequence and order. Image and meaning are dispersed without hierarchy. The cut up is not illustrative. It is procedural.
The exhibition is not arranged thematically or sequentially. Works are placed in proximity, not alignment. Interpretation is possible but not imposed.
This is not a show about drawing, collage, or print. It is not a return to the page or a statement about its materiality. The persistence of the page reflects how work happens now. With limited means. With interruption. With refusal of the conditions expected for permanence. These works are not waiting for completion. They do not require validation through scale or resolution.
Here, the page functions as structure. Not as theme. Not as medium. It permits action without scale. It allows for decisions without permanence. Historically treated as secondary in the form of sketch, study, or draft, the page has supported practices that exceed the formats through which value is assigned. This exhibition does not attempt to elevate that status. It inhabits it.
The artists in Edge of Refusal work within this surface tension. Jill Mulleady presents a monoprint compressed into a single instance. The image resists reproduction. Cosey Fanni Tutti reactivates imagery from pornographic print culture. These materials are not nostalgic. They remain in motion. They were never static.
Drawings by Conor Ackhurst and Tobias Spichtig suspend form at the point where image does not settle. What appears is provisional. What remains is unresolved. David Ostrowski reduces visual language to a minimum. Nothing is clarified. Nothing is added. What is visible is a decision not to expand. William S. Burroughs works through fragmentation. His collage breaks sequence and order. Image and meaning are dispersed without hierarchy. The cut up is not illustrative. It is procedural.
The exhibition is not arranged thematically or sequentially. Works are placed in proximity, not alignment. Interpretation is possible but not imposed.
This is not a show about drawing, collage, or print. It is not a return to the page or a statement about its materiality. The persistence of the page reflects how work happens now. With limited means. With interruption. With refusal of the conditions expected for permanence. These works are not waiting for completion. They do not require validation through scale or resolution.
Works
Untitled, 2025
Charcoal on paper
42 x 30 cm
enquire
Untitled, 2025
Charcoal on paper
42 x 30 cm
enquire
Untitled, 2025
Charcoal on paper
42 x 30 cm
enquire
Untitled, 2025
Charcoal on paper
42 x 30 cm
enquire
Untitled, 2025
Charcoal on paper
42 x 30 cm
enquire
Untitled, 2025
Charcoal on paper
42 x 30 cm
enquire
for all enquiries email info@sotf-commodity.com