01: Vessel   02: Burning   03: Foil   04: Soft
Editorial notes
It took a while to surrender to the necessity of replacing my phone with a new one, one more recent, with more storage space and increased functionality, better performance, nicer design. Bigger, better, faster. I waited until the very last moment I could, until my phone eventually stopped performing even its most basic function – calling – and it was as useful as a coaster.
High up in the window of the D-Gallery sits a real potato, slowly germinating, whilst metal cast sprouts shoot out from the walls, hooking blue electrical wires to the perimeter of the exhibition space. Tangled in a complex circuit, the wires reach from solar panels installed on the other two windows, to a solar converter powering an animated potato on an LED screen, which in turn grows digital shoots.
In a gallery space near London Fields, Kaye Bonnar, a self-proclaimed non-functional basket maker, sat down with Jade Cowans, one half of TWG/THEWHOGALLERY duo, to discuss her practice and evolving relationship with the many stratas of the visual arts world. Since her years at Grays School of Art, Bonnar has grappled with the labels associated with being a maker and those assumed contexts which accompany them. Working in a time when craft and fine art appear as opposing ends of the binary, where does traditional technique factor into the world of the white cube?
My curiosity about banana boxes is growing. I have been looking out for banana boxes for about a year. I have seen them in Kilburn High Road food and vegetable stalls and Peckham Rye fruit markets in London, flea markets in Berlin and Kassel, and along the streets of Bolzano when I was on my way to visit a David Medalla retrospective exhibition in the Summer. Wherever I go, they are there waiting to catch my attention. They have become my best travel companions.



published in London, UK | 2023–2024