14/05/2026
Brinkmann examines the relationship between bodies, objects and space. Working with light, sound, and found/fabricated elements, she considers how infrastructures are reframed and acted on, shifting our orientation to environments. Accordingly, she has responded to the exhibition as a space in which to intervene.
Held together with magnets, hooks and straps, the two constructions operate as a double act. Designing Against Vandalism is made from galvanised racking, detached from support, flipped and stacked to form a rickety cubicle. The space within invites the body, but the structure’s dimensions would surely prove prohibitively tight. A sheet of perforated steel in place of a solid panel on one side hints at the hush of confessional booths. A single strobe is lowered into the cubicle, flashing blue light downwards at slow but incessant intervals.
Hard Shoulder is a barrier-like structure made from welded steel supports, a foldable double mattress and a rusting metal sheet, fastened with hessian strap and bungee rope. Facing the wall, it leaves a narrow gap just too small for passage. Three strobe lights placed in this corridor flicker frantically, generating a polyrhythmic interlace of light and sound.
Speaking to the politics of enclosure, these works disrupt spatial perception, confusing any sense of clear demarcation between public and private space.
Works shown:
Hard Shoulder, 2026, Steel, double mattress, magnets, hessian strap, bungee rope, strobe lights, 1210mm x 1910mm x 1860mm
Designing Against Vandalism, 2026, Steel shelving, magnets, steel, strobe light, cargo net, electrical cable, 450mm x 450mm x 1860mm
Photography by Will Hughes, James Clarkson, and Nick Kennedy