Conor Ackhurst, Mick Barr, William S. Burroughs, Cosey Fanni Tutti, Jill Mulleady, David Ostrowski and Tobias Spichtig
06 March – 25 April 2026
The exhibition does not propose resolution or assemble a thematic framework. It remains embedded in its material situation. The works do not aestheticise constraint or convert it into spectacle. They operate within it. Refusal appears not as opposition, but as a suspension of coherence, completion, and institutional scale.
The page constitutes the exhibition’s structural premise. It permits decisions without permanence and form without expansion. Historically positioned as draft, rehearsal, or supplement, the page has occupied a subordinate role within hierarchies of display and value. Yet it has sustained practices that exceed those hierarchies. Edge of Refusal does not seek to elevate the page; it works from within its position.
The works operate through fragment, residue, contact, and delay. They remain materially proximate to their conditions and resist closure.
Conor Ackhurst’s graphite rubbings register architectural surfaces through direct transfer, producing impressions that resist consolidation into image. Mick Barr’s drawings develop through recursive movement, generating form without hierarchy or directional progression. William S. Burroughs’s collage sustains discontinuity, as photographic fragments and gestural marks remain in unresolved tension and the cut interrupts rather than reconciles. Cosey Fanni Tutti recontextualises material drawn from her practice, presenting images that function as documents of participation while maintaining the visibility of labour and circulation within the page. Jill Mulleady’s monotype produces a figure through pressure and contact, retaining bodily trace while withholding interior narrative. David Ostrowski’s restrained intervention holds open ground without resolving into motif, sustaining a measured relation between reduction and persistence. Tobias Spichtig renders the figure in sparse, urgent lines that maintain presence without fixity.
The works do not align. They occupy the same space without agreement. What binds them is not theme but condition. Practice continues within limitation; friction remains visible; resolution is deferred.
Whether such refusal marks a withdrawal from the demand for coherence or risks consolidation as another aesthetic position remains unresolved. The exhibition does not adjudicate this tension. It sustains it.
The page constitutes the exhibition’s structural premise. It permits decisions without permanence and form without expansion. Historically positioned as draft, rehearsal, or supplement, the page has occupied a subordinate role within hierarchies of display and value. Yet it has sustained practices that exceed those hierarchies. Edge of Refusal does not seek to elevate the page; it works from within its position.
The works operate through fragment, residue, contact, and delay. They remain materially proximate to their conditions and resist closure.
Conor Ackhurst’s graphite rubbings register architectural surfaces through direct transfer, producing impressions that resist consolidation into image. Mick Barr’s drawings develop through recursive movement, generating form without hierarchy or directional progression. William S. Burroughs’s collage sustains discontinuity, as photographic fragments and gestural marks remain in unresolved tension and the cut interrupts rather than reconciles. Cosey Fanni Tutti recontextualises material drawn from her practice, presenting images that function as documents of participation while maintaining the visibility of labour and circulation within the page. Jill Mulleady’s monotype produces a figure through pressure and contact, retaining bodily trace while withholding interior narrative. David Ostrowski’s restrained intervention holds open ground without resolving into motif, sustaining a measured relation between reduction and persistence. Tobias Spichtig renders the figure in sparse, urgent lines that maintain presence without fixity.
The works do not align. They occupy the same space without agreement. What binds them is not theme but condition. Practice continues within limitation; friction remains visible; resolution is deferred.
Whether such refusal marks a withdrawal from the demand for coherence or risks consolidation as another aesthetic position remains unresolved. The exhibition does not adjudicate this tension. It sustains it.
Cosey Fanni Tutti
TG Double Sided Promo Card, 1980
Offset lithography on paper
66 x 53 cm (framed)
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Cosey Fanni Tutti
Rustler, Vol. 2, No. 7, 1977
Offset lithograph on paper
62 x 82 cm (framed)
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Jill Mulleady
The Hermaphrodite, 2025
Woodcut monotype on paper
50 × 65 cm (framed)
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Conor Ackhurst
Saal, 2026
Pencil on paper
38 x 45 cm (framed)
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William S. Burroughs
Blue Eyed Lemur, 1992
Ink, crayon, photo and cut-out collage
75 × 62 cm (framed)
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Tobias Spichtig
Daemon in the Studio, 2025
Pencil on paper
42 × 34 cm (framed)
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Tobias Spichtig
Rose in a Vase, 2025
Pencil on paper
42 × 34 cm (framed)
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Tobias Spichtig
Sketch Georgia, 2025
Pencil on paper
42 × 34 cm (framed)
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David Ostrowski
F (A thing is a thing in a whole which it’s not), 2025
Acrylic and lacquer on paper, clipframe
40 × 30 cm (framed)
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David Ostrowski
F (A thing is a thing in a whole which it’s not), 2025
Acrylic and lacquer on paper, clipframe
40 × 30 cm (framed)
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Mick Barr
Plismestion, 2026
Ink on paper
33 x 43 cm (framed)
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