Together, we brush as an act out of love; you hold one end whilst i hold the other. A ceremony, a ritual, an event for the day to be done for hours until you no longer wish to play.
Pat pat pat, gnashes out and slobber on slow decline. All these strokes you deserve; for simply being mine. Golden locks, silky curls, in such unity they twirl. SUCH a good boy and of course, a good girl !!
An admiration of our love language to man’s best friend, through the act of a brush stroke.
Dog hair used… Afghan Hound, Borzoi, Cockapoo, Cocker Spaniel, Chow Chow, Golden Retriever, Huskey, Newfoundland-Landseer, Pomeranian, Pyranese Mountain Dog, Samoyed
0.5cm x 300 cm x 150 cm 2025.
Many thanks to Theresa for the work and the install ❤️
Many thanks to Tom Woodroffe @tomwoodroffe for his work.
9.2.26-22.2.26 Tom will change the installation midpoint
Tom Woodroffe’s photography is rooted in the quiet dramas of everyday life—fleeting gestures, awkward pauses, and gentle absurdities that often go unnoticed.
His practice sits between diary and fiction, drawing from real moments while embracing autofiction. Blending fact and fabrication, his images question how memory is shaped, edited, and retold.
The works on display at window135 continue this exploration, focusing on emotionally ambiguous spaces and encounters—tenderness edged with tension, humour tinged with melancholy. Reframing the archive by playing with presentation, the images are given a new life in conversation with each other.
The installation It’s a girl! is a stark and sorrowful critique of the misogyny and systemic violence that women and girls are born into across the world.
It is a father’s lament, a desperate articulation of the hostile environment my own daughters, and all girls, inherit from the moment of their birth.
The traditional congratulatory card, so full of pink, hope, and societal celebration, is placed next to a pink-coated infant skull—a morbid memento mori—to violently juxtapose promise against peril.
The fluttering of the pink feathers represents the fleeting fragility of innocence and life in the face of relentless, gendered violence.
This work is a refusal to normalize the relentless tide of femicide and oppression. The pink coating is an attempt to reclaim a colour that is weaponized against women from birth, demanding that we see the brutal reality hidden beneath the saccharine façade of gender stereotypes…..’
Many thanks to Martin for the work & the install 💓
Seven days of silent dialogue, playful encounters, and becoming— between human and animal, inside and outside. Concept & performance @christlmudrak Documentation video @deniz.soezen Part of RE-INTERVENTION PROJECT 135… No. 3 curated by Soledad García Saavedra @lacurasur MFA Programme 2008, Goldsmiths College London @goldsmithsmfa
I use coloured pencils and small bits of paper but I think of what I do as paintings. Pencils allow me by some kind of superstitious childish primitive pseudo rule to paint. As it happens I do also paint with real paints but I feel the drawings are the furnace. All power comes from them. I use a children’s oily crayon called Woody Stabilo as well as the basic pencils – which are usually Faber Castell.
I think of something and draw it any old how. And then I keep going utterly abstractly until there’s a visual powerful logic. I ask Emma Biggs if something’s working and if she says no I keep changing it and I often have to rely entirely on her to pull something through. Sometimes I don’t even think of anything, I just draw an eye and it could be male or female. I sometimes use my phone and look at photos and I sometimes don’t. I never look at It for Philip Guston. I really do feel he looked like I have been drawing him for five years now. He’s become my invention. The materials and my manipulations of them are everything. I happened by luck to have always had an audience for these drawings and I was able to open the door to a flood of endless content because of the response of that audience. What it liked I did again. And again and again. On the other hand now I think about it, it liked everything, so I don’t know if it really meant anything at all to have it. But I know they’re all out there and I’m grateful to them. They’re my materials too like my memories are materials and my nervous system is a material. ‘
1. I heard Mark Gardiner CEO of the community security trust, which is supposed to protect everyone from antisemitism , on R4 news lying outrageously about the pro-Palestinian demos-saying totally crazy stuff about the illegitimacy of Jewish protest against Israel.
2.How art goes wrong. J J Charlesworth art world luminary in a desert of values having another pint of nuance, somehow always concludes Israel should not be criticised.
3.The usual tropes for de-legitimising criticism of psychotic sadists murdering everyone.
4.Stop Art-World Zionists Mike Bloomberg, art washing Israel supporting billionaire, former Mayor of New York, chucking tens of millions around in the UK art-world-& JJ Charlesworth, art intellectual who sneers at the left for criticising Israel-both bathe in ideology at the bloody Frieze art fair.
5. Lisa Nandy lies
6.Support Bob Vylan, he is an informed & truthful chanter.
Many thanks to Matthew for the work and the text. Available to see @window135 until 02.12.25
window135 