My ongoing exploration of the readymade informs the work Drowning (2022) that is an assemblage of two plastic inflated neon pink air beds. While similar, their undulations distinguish them from each other in a supportive relationship. The work is given form by means of inflation, resulting in a form that is created by air that has political and environmental connotations in contemporary society. There is a suggestion of disorientation as the air beds have been taken out of their usual  context. The air beds would normally be horizontal, not vertical, and located in a swimming pool, supported by a body of water, as opposed to attached to a wall. 
A sense of abandonment results from the absence of human form, as well as their location in a studio or gallery setting. Inflatables are also inherently unstable and vulnerable to puncture. The pink hue of the air beds dominates the surrounding space by adding a faint pink sheen to the adjoining walls. This subtly highlights the mutual relationships that link a cluster of objects and impact on other bodies in unexpectedly diverse ways.


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