She wears a red hair piece of red horse hair. Death drive takes a mate as involuntary violent acts form this peripheral rivalry. Her soft cock is locked down. His abstained desire penetrates the love-object. A gold appliqué provides a conduit to heaven as a sculptured torso bound with rope watches the unfolding.
Night Gallery presents Upbraid, an exhibition of new work by Alika Cooper. Working with an array of textiles, Cooper composes fabric pieces on wooden stretchers with the deftness of a painter. Tiny fabric cutouts operate like drawn-in details while thick swatches of material mimic strokes of paint from a large brush. Planes of fabric alternate between depth and flatness depending on whether they can be seen as material collage or rendered space. This back-and-forth between poles is also reflected in the artist's subject matter, which is often sourced from iconic, editorial photographs. Through decoupage, Cooper is able to transform the lucid descriptiveness of her source imagery and turn it into a body of domestic tactility. The illustration of gender becomes less explicit and an amorphous state of power is suggested. Poles go from flaccid to rigid, confused to binary, sado- to maso-chostic to neither and both. This refusal to rest in one fixed state is Cooper's haptic rendering. It is her Upbraid.
