For New Palubub, Davenport made a small series of concrete slabs that have different shaped and sized swirly mosquito coils on their fronts. They (‘Tablets i – iii’) lie, unattached on black painted straw bales. An image of two black corn on the cobs also accompany a birds-eye-view photograph of a tractor, the scale of which is undeterminable, that is harvesting a surface – also undeterminable. It looks like the tractor is harvesting stones. On top of the photograph is painted two small black oil paint blobs or eyes, which makes the image smile. It fits that the tractor is the mouth.
Belgium-based, Aline Bouvy made two new friezes or reliefs made from industrially produced linoleum cut up by the artist called ‘The Description Doesn’t Fit’ (2015). The reliefs are large and with people in them. Curiously they are descriptive in that you see something so illustrative (or figurative) as a person crawling with a swirly pipe leading all the way from their anus to their mouth over what could be grains, like the harvest Davenport’s tractor couldn’t harvest, although it is also just the raw material of the image’s surface. The other frieze by Bouvy sits close by and features a central figure, black with thick linoleum at a table – ribs protruding – and surrounded by ghost-versions of him/her self, whose bodies have been replaced by the same fainter material applied underneath the crawling figure. **