HaYoung explores the processes by which an image is produced and formed, whether created by hand or by artificial intelligence. They work with the properties of materials—neither liquid, solid nor malleable—and create compositions that resemble clusters of pixels. Metal, glass, latex, silicone and aluminium soften, transform and take shape, like molted skins or shed layers. For *The Life Story of GD*, the artist narrates the story of the Google Dinosaur in search of someone to scratch its navel—an original scar, a blocked orifice. This endless journey through the desert becomes the subject of an existential crisis. By questioning identities that are composed, decomposed and recomposed, they thus explore what is deconstructed, what regenerates and what mutates within the established structures that encircle them like loops. By deconstructing binary computer language, they advocate a discourse situated between 0 and 1. In these gaps, these interstices, HaYoung invents new forms of language, both virtual and organic.

Sarah Netter works with scraps and leftovers to create two-dimensional or three-dimensional forms. Drawn to what they call ‘gritty patterns’, they disrupt the viewer’s focus with ‘garish’ combinations, layers of ‘cheap’ textures, ‘girly’ shimmer effects and ‘has-been’ graphics. In Sauce, a foot—part sexy, part troll-like—says “grrr”. Clad in a hairy tongue, its toes are covered by a fluorescent pink hood revealing a zip that resembles a smile. From it emanates a voice, smooth and kinky, exploring what is “hot”. Through this play on visual and tactile senses, they deconstruct notions of taste, which reflect categorisations of class, race and gender. By reusing elements from industrial manufacturing, Sarah Netter creates malleable and mutable works, mindful of economic and ecological issues. It is thus through a lack of technicality and hierarchy that they present real and fictional corporealities.

P A T A T I P A T A T A

evokes endless chatter or a stream of words that cannot be deciphered. Taking language, accessibility and untranslatability as their starting points, they detach themselves from signifying elements to invent other imaginaries—neither entirely abstract nor entirely figurative, lost within semantics. They encourage us to rework ways of communicating, drawing on ‘materiality-organicity’, and explore the possible assemblages of multiple corporealities. By focusing their attention on ‘things’ rendered invisible, they give voice to what is hidden and misunderstood.

For HOT POTATOEX, just like mashed potatoes, they mash, blend and mix together, taking turns to pass the hot potato. Rather than seeking unity, and through the notion of embodiment, they seek, in collage, contradiction, error and glitches, in order to reveal the layers and textures.