Exhibition response by hannah_g

“Marsch’s sculpture hovers against the wall like a torso bereft of its usual appendages. Its slight sag seems a precursor to an aged stoop and this resonates with the work’s reference to time. For five years, Marsch collected lint from the drier she used to dry her and her partner’s clothes. The sculpture is a chronological assemblage of this collection, and is reminiscent of the striations in a sedimentary rockface. Unlike geological formations, Marsch’s material is precarious, easily torn apart, and highly flammable. Yet, the offal greys and violets seem like they’d make good insulation, keeping in the warmth and protecting against the cold, continuing the function of the clothes that shed them. The couple’s lint medley is a kind of poem to a relationship, the combination of the seen and unseen—passing time, gestures of care, flashes of upset, the hundreds of tiny things that a partnership is composed of. The humour within the sculpture’s weird attractiveness bucks the shiny prescription of what a relationship should look like. Marsch shows the guts; they are indecipherable, but she invites us to read them as we might tea leaves (or entrails) to reveal something about our own private lives without impinging on the sanctity of her own.”