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renovateinspire · 2 years

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How to Find the Best Bathroom Renovation Services in Mississauga

Bathrooms are private spaces that should be designed with practicality and luxuriousness in mind. For many homeowners, an outdated bathroom means a lack of storage, impractical design, and an absence of appeal. Fortunately, with the right renovation and remodel team, you can have your dream bathroom and that means a beautiful space you can relax in.

Whether you wish for a simple and clean space that is easy to maintain or you want a lavish room that is reminiscent of a high-end hotel, always rely on experienced and knowledgeable professionals for the best results.

To help you with your next remodel, bathroom renovation services Mississauga homeowners can depend on are provided by knowledgeable contractors. Let’s take a closer look at the benefits of professional renovators for bathroom upgrades.

Practical

An important part of any bathroom upgrade is ensuring its practicality. A functional bathroom means that you can find everything you need when you need it. The space should provide sufficient storage and privacy making it easier to manage personal hygiene while keeping essentials concealed. Practicality is a necessary part of successful bathroom design and is best determined by a certified and experienced remodeler.

Simple to Maintain

Because bathrooms are exposed to constant moisture, it needs to be designed for simple maintenance. The steam and water create the ideal conditions for rising dampness, mold, and mildew to form. Fortunately, with the correct use of materials such as tiles and steel fixtures, it can prevent rising dampness and mold from taking over the condition of the room.

Attractive

Because bathrooms are meant for cleanliness and relaxation, they should offer appealing designs. By working with professional remodelers, you can transform these rooms into any style or finish. From the installation of deep tubs with feet to modern vanities for storage and appeal, there are various features and fixtures that professional installers can include to create your dream bathroom.

It is important to speak to your contractor about the desired designs and which of these will deliver the beauty and the finishes that you are looking for. Experts in the industry can advise on suitable design aspects to enhance the space while creating the functionality that you need at the same time.

Value

When you call on experienced and knowledgeable contractors for the design and the improvement of bathrooms, you can rest assured that high-quality materials are used and careful attention is paid to the finishes of the space. When bathrooms are properly designed and beautified, it can significantly improve the value of the space and the overall property. If you are thinking about the resale of the property investing in superior bathroom design can make all the difference. This means renovating the space so that it provides the functionality you are looking for while appealing to a future buyer. The remodel team will discuss the design options and help to create an appealing bathroom with the features needed for the best results.

How to Find the Best Bathroom Remodelers

Bathroom remodeling experts can provide exceptional value and ensure that every part of your new space satisfies your expectations. This includes functional design and beautiful features that improve the appeal of the space. With expert bathroom renovation services Mississauga clients can take advantage of sound design and modern solutions that are meant to last. Professional designers will work with you to create bathrooms that are beautiful and valuable. The purpose is to ensure that the room is not only designed for your current needs but also for the future value of the home. From new tiles and faucets to the installation of showers and vanities, call on your trusted bathroom remodelers for expert results.

Original Content Source: https://renovateinspire.mystrikingly.com/blog/how-to-find-the-best-bathroom-renovation-services-in-mississauga

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tinosincbstnw · 1 year

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jjpainting50 · 4 years

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PAINTING COMPANY, PAINTER

101 S. Elm St #V4, Greensboro, NC 27401

(336) 365-1476

JJ Painting Services - Greensboro is a local painting company serving the Triad area. We do exterior painting, commercial painting for both commercial and residential properties. We're local contractors in Greensboro NC, feel free to request a FREE quote, we can also paint garages, basements, kitchens, bathrooms, decks and we can also do pressure washing. If you're looking for a painting contractor near you, then JJ PAINTING SERVICES is the right painters for you. We serve Greensboro, Winston Salem, High Point, Clemmons, Kernersville, Burlington NC, Asheboro, Archdale, Lexignton, Thomasville and the rest of the Triad area.

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charlestonscpainter-blog · 4 years

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Painters Charleston SC | Commercial Painters | Seabrook Painting

Seabrook Painting is a full-service painting company. We employ many professional Charleston painters and work with several local builders, general contractors, property managers, and real estate companies. We offer services for interior painting, exterior painting and commercial painting. We’ve completed projects for Rooms To Go, CVS, Burlington Coat Factory, College Of Charleston, Walmart, Coastal Carolina University, Publix, Planet Fitness, and many more. https://charlestonscpainters.com/ Twitter Instagram

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charlestonscpainters-blog · 4 years

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Painters Charleston SC | Commercial Painters | Seabrook Painting

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cipcontractservices · 4 years

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Good morning! We are CIP Commercial & Industrial Painters and we do Aviation Painting, Roof decks, Roof Coatings, Swimming Pools, Parking Garages, Places of Worship, Floor Coatings, Institutions (Healthcare & Schools), Exterior Painting, Office Painting, Tanks & Silos, Utilities, Factories, Marine Painting, Waster Water Treatment Plants, Structural Steel. ✅ ⚫️🟠⚫️🇨🇦 #steelpreservationists #commercial & #industrial #painting #sandblasting #coatings #toronto #burlington #oakville #milton #mississauga #hamilton #brampton #vaughan #etobicoke #niagara #ajax #peterborough #london #oshawa #newmarket #barrie #aurora #kitchener #cambridge #waterloo #vaughan #ontario #canada #industrialpainters (at Toronto, Ontario) https://www.instagram.com/p/B9WjLPNgbmG/?igshid=1mijrkqzjv0z1

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seabrookpaintingcharleston-blog · 4 years

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Painters Charleston SC | Commercial Painters | Seabrook Painting

https://charlestonscpainters.com/

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craigwinslow · 3 years

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2020: 🌘 Perpetual Pause

Every year, I enjoy making this animated map portraying my movement as a display of energy and progress through the year. Compared to a wildly active 2019, this year strikes a much heavier tone.

Ironically, the mantra I set for 2020 focused on slowing down, but this wasn’t exactly what I had in mind. Cancelled, postponed, delayed. Like many other people, the majority of my work for 2020 was filed into one of these categories.

That said, I’ve been fortunate to continue work remotely, having spent most of the year getting frugal, and looking forward to whenever this ends. Aside from two camping trips, and one trip to the coast, I’ve been in Portland ever since May.

Everything considered, I strangely accomplished what I meant to do in 2020. Hunkering down led to developing a solid daily routine— a far cry from my typical pace the past few years, but one that has helped manifest normalcy and structure. It became a year to truly slow down, realign, unlearn, and reassess. The best way I can describe this year is a 9-month weird dreamscape living in perpetual pause.

Here’s what I ended up doing in 2020:

Brilliant! Jackpot (Postponed)

Right after the Tim Burton exhibit launched, The Neon Museum and I knew we wanted to follow up with a brand new, drastically bigger, better version of Brilliant! called Jackpot. The plan was to install in April, so I was fully immersed in Brilliant! Jackpot the first three months of 2020—creating the most exciting, diverse, and nostalgic version of this exhibit. Everything was ready to install in March, and then the COVID-19 shutdowns began. We remotely installed the original version of Brilliant! while we put an indefinite hold on Jackpot.

This is when everything flipped sideways.

Lockdown in Los Angeles

The biggest positive of this year? It brought my partner and I much closer together. Looking back, I can’t believe we flew to Hawaii in February, but I’m so glad we did. Early March I flew down to LA, and cancelled my return flight. Jessica and I had only been dating for a few months, and suddenly found ourselves moved in together, during the start of a pandemic. It was either going to work out, or it wasn’t.

Fortunately for us, it really worked. I lived down in LA for two months, during which Jessica lost her job due to the pandemic, and we ended up advancing rough plans for her to move up to Portland. On May 1st, we made the 15-hr drive from Los Angeles to Portland, and only stopped 3 times for gas (and one time for In-N-Out).

XR Talk Interview

I was very thankful to join Paul and Spencer on this podcast shortly after the world drastically changed due to COVID-19 shutdowns. This conversation happened as my focus turned from in-person projections to safe and distanced artwork and the ways I could take advantage of virtual mediums to bring people together. Watch here

Lockdown Letterheads

The first-ever virtual Letterheads! I previously attended Letterheads in Tokyo and London, which were wonderful experiences in their own right, but Lockdown Letterheads was special. A virtual meet-up with 24 hours of programming that any sign painter and guilder from around the world could attend! Sam Roberts, who has organized Letterheads in the past, asked me to co-host with several other Letterheads Alumni. I also led a presentation about Light Capsules, ghost signs, and shared some of Dr. Ken Jones' work.

The Wild VR Interview

I had a fantastic conversation with the team behind The Wild, a product instrumental in creating the Tim Burton exhibition at The Neon Museum in late 2019. This case study focused on my process of implementing immersive team collaboration in VR to build the exhibit from across the world before installation—an ideal tool for 2020. Read it here.

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The Neon Museum 360 Virtual Tour

We had an opportunity to create a virtual tour of the boneyard thanks to global virtualization due to the pandemic. For the first time, the museum could give anyone across the world access to experience the museum. I built and shipped a Matterport kit, then worked remotely with Steve Siwinski of The Neon Museum to execute a full scan of the main boneyard. Working with their archival team, we created over 120 informational hot spots so virtual visitors could view historical photos and information about each sign along the way.

Pre-Visualization in Ventuz - under NDA

A continuation of a secret ongoing client project, due to launch to the public next year. I've been part of a team working on real time graphics and a new playback platform for a large scale integration. The creation of a custom pre-visualization environment led into the production phase of this long-term project.

Rise Up, Show Up, Unite

A call to action in support of the Biden/Harris campaign, started by Jessica Hiche and Adé Hogue. I created this 3-dimensional looping graphic in a day, first designing in illustrator, animating and modeling in Blender 3D, then exporting from Premiere. It was inspiring to see so many other creatives using different mediums come together and express their support using the same prompt. You can see more at riseupshowupunite.vote.

Intel Creator Spotlight

It's always exciting to dive back into a previous project with newfound hindsight and experience. For this artist spotlight with Intel, I discussed my concept design and creative direction for the pre-game intro with the Trail Blazers for NBA Playoffs 2018.

Thanks to Intel for the opportunity and the editors at Art of Visuals for making magic out of the interview, b-roll, and behind-the-scenes footage we provided. Filming this in the middle of a pandemic was an interesting— but not impossible—challenge! Intel dropped off a lighting kit, and my partner, Jessica, filmed everything in 4K using her commercial photography gear.

This home studio structure ended up being advantageous for the next project...

Adobe MAX 2020 - Behind the Light, with Takuma Nakata, Sponsored by Intel

Dare I say... the most exciting thing that happened this year?! The opportunity to have a keynote spot at Adobe MAX, a conference I attended many times over the years, was quite an honor. I got to have a conversion with fellow Adobe Residency Alumni, Takuma Nakata, about where our work intersects and how light, design, and art inspire us. We wanted to push the limits of a typical virtual video interview by recording 3D point clouds simultaneously that Takuma combined together in a nature-driven point cloud backdrop. It created a very interesting and exciting way to bring us together from Portland and Kyoto in a virtual space.

ATypI 2020 All Over Conference - Light Capsules and Lettering, Projection Mapping with Craig Winslow

Another virtual conference I spoke at this summer. I dove deep into the process behind Light Capsules with a live demonstration and discussed the next iteration of the project.

Concept: Beacon

As a result of my interview with XR Talk, HELO, a global talent agency, reached out with an opportunity to pitch a project bid. This led to some exciting creative conceptual design work for a potential client.

Concept: Telescope Tree

Another conceptual design worth sharing for a project bid that was brought to me through HELO. Sketches and 3D modeling came together quickly for this concept, which was pitched as "an artistic interpretation of a holiday display."

Vivid Coffee

For the past 5 years, I have led design at Vivid Coffee, creating everything from branding and packaging to merchandise.

Vivid recently moved into a gorgeous cafe space in downtown Burlington, Vermont. We’ve been busy creating menu boards, exterior signage, neon art, as well as dozens of new roast labels, and a expansion into Snapchilled Coffee. I also helped design a mug with art by Keenan Bouchard to benefit Honduras after the Santa Barbara region was devastated by multiple hurricanes.

The list of exciting things to come in 2021 is long, as I continue to help with creative aspects to building out the new cafe.

‘Glow’ with Hueman

Dr. Mabrie and his team reached out after seeing the Lightform AR Mural I created with Gemma O'Brien for Lightform. They proposed a collaboration with Oakland-based artist Allison "Hueman" Torneros on a brand new mural for their Union Square office in San Francisco.

Hueman painted this entirely in B&W and the rest of the color was added with light. I worked closely with Hueman to brainstorm and define direction, responding to her vision as the artist to create all custom content to augment her work as a living, projection artwork.

Perhaps the most '2020' feat was creating this work entirely remotely. With help from Dr. Mabrie's team to get measurements, I built the office in 3D, and used Disguise One to show an example of the final installation. After printing a scaled-down version of the mural, I built a mirrored set-up in my home studio in Portland, for testing and perfecting the animations in person. Once the mural was painted and placed, a local installer mounted the projector, and I utilized beta cloud tools in Lightform Creator to scan, deploy content, and publish updates remotely.

Representation with HELO

After a few conceptual design bids for projects, HELO and I started to discuss what official representation would look like. They were excited about my approach, and the cleverness of my previous projects. I’m pleased to share that I officially signed on with them as my EU and US representation! Excited to see what projects we collaborate on together next year, as I set goals for dream clients and projects.

2021

I’m proud to have done so well this year, despite... 2020. My growing focus on 3D pre-visualization really thrived in this new virtual world.

I’ll admit, it’s hard to look forward to 2021. It’s going to begin the same way 2020 ended, but I remain hopeful that by summer or fall things will get moving again. Until then, I’ll continue to focus on working remotely, finding new projects, and expanding creative outputs.

An ideal 2021 for me is one where I get to see family and friends. I’m also turning my attention to my dear project Light Capsules in multiple ways: the first permanent Light Capsule installation, an augmented reality iOS app as an extension of the project and a platform for future AR capsules, alongside new projection installations.

It’s also safe to say we’ll finally see the new Brilliant! Jackpot in 2021, whenever it’s safe to bring our talented team from around the country to beautiful Las Vegas.

My mantra for 2021: Be healthy, stay inspired.

It’s a hope I share not only for myself, but for everyone else. It’s been one brutal hell of a year. —Craig

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paintingcontractorsindelhi · 4 years

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(via Commercial painting contractors St. John’s Conception Bay South Mount Pearl Paradise)

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ambassadorpropainters-blog · 5 years

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Commercial Painting Service Providers for Expert Painting Service

Business painting differs from basic house painting in such a way that the former impacts large number of people states your staff members, consumers and house painters burlington ontario influences your family and friends. Therefore business painting ought to be provided with utmost treatment considering the expertise that goes into such type of painting. So it's suggested to hire business painting service providers or specialist experts from a recognized painting company.

Nowadays company workplaces, going shopping malls and also restaurants are being painted on single system of colors or motif based layout and shade. To a certain level the secret to rejuvenate company in restaurants and shopping malls is to make a great atmosphere that gets extra new consumers. We typically get drawn in to big commercial or business homes with attractive looking outside due to the same. This can likewise be the shade of your firm logo design or the standard color that connects to your service theme. Structures that are related to atmosphere well-being could go with green. Cafe can choose coffee based style theme or shade. For a college maybe something intense as well as light. Healthcare facilities need to opt for subtle shades which are calming to eye. Usually business paintings are not that speculative with colors as a result of the expense element as well as too many stakeholders.

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renovatein · 1 year

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If you are looking for interior or exterior painting for your business, discover the importance of calling on professional residential painters Mississauga homeowners , as they can rest assured that their property is professionally restored and enhanced.

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renovateinspire · 2 years

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latisharita · 4 years

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Choose the best industrial painting service in the USA for your workplace.

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Commercial painting service is bound by this promise and work to deliver the very best quality by the best painters. Our industrial artists are experienced in surface preparation, guide abatement, and of course the high-quality coating applications required for facilities. Each of our painters has several years of experience and certifications in industrial painting facilities as well as equipment. That's why, it’s the best industrial painting service in the USA.

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nextstepelectric · 4 years

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micaramel · 5 years

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Artist: Lucy McKenzie

Venue: Cabinet, London

Exhibition Title: Giving Up The Shadows On My Face

Date: October 3 – December 7, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump

Images:

Images courtesy of the artist and Cabinet, London

Press Release:

Lucy McKenzie grew up in Glasgow and since 2006 has lived in Brussels, Belgium. Her work combines traditional oil painting with a variety of other disciplines including collaborations in fashion and furniture design, curation, writing, and publishing. This, her first solo exhibition in London since 2010, explores the intersection of fine and applied arts, representation and labour in a series of paintings and objects.

Together with Beca Lipscombe, her long-term collaborator in the fashion label Atelier E.B, McKenzie staged Atelier E.B: Passer-by at Serpentine in 2018 and Lafayette Anticipations in Paris in 2019. The exhibition examined the fruitful exchange between retail display / mannequins and fine art. In Giving Up The Shadows On My Face McKenzie continues to explore the artist-mannequin partnership and examine the dynamism that is created when different creative fields are brought into dialogue.

Mural painting and the decoration of civic spaces have long been a forum in which ideology and cultural policy have come to artistic fruition:

The monumental wall painting, a prestigious format in Europe since the Middle Ages, became a fulcrum of critical debate in the 20th century. Many artists and critics looked to the mural as a corrective to the ills of painterly Modernism: the disruption of the pictorial field at the hands of Cubism and other avant-garde practices; the commodification of painting through the market for easel paintings; the loss of arts effective public mission; the erosion of aesthetic aura; and more generally the alienation of man and the anomie of art in the modern condition.

At the same time it was clear that a return to the mural format would never be more than anachronistic and futile gesture.

Romy Golan, Muralnomad: The Paradox of Wall Painting, Europe 1927-1957

For Giving Up The Shadows On My Face McKenzie highlights the friction between two artistic systems, art made for the private market (as typified by the framed oil painting or the display vitrine) and that supported by the state (here represented by a Soviet-era style mural). She examines the way these two methods of artistic expression (and economic survival) are aesthetically shaped by those systems, what defines them, and how this relates to artistic hierarchies.

A vitrine is used as a framing device to give value to and elevate a household chair (a replica from the 1930s villa by the by Belgian architect Josef De Bruyker that the artist is restoring). The vitrine is one of a pair that would sit well somewhere like the Burlington Arcade, but their interiors are fitted with replicas of the kind of marble that decorates the civic buildings of Totalitarian states (here taken from EUR, the neighbourhood of Rome planned under Mussolini in the 1930s). These painted interiors also recognise the contemporary vogue for marble in designer boutiques—which take their cue from marble’s re-emergence in the 2010s as a sculptural material in visual art, rather than directly from luxury décor. In the show the chair is presented as a functional design object, displayed in a vitrine and as part of a painted composition: domestic, commercial, creative and civic spheres are overlaid.

Glasgow 1936 / 1966 depicts two maps of central Glasgow superimposed upon each other, a tram map from 1936 and a gang territory map from 1966. The work was originally painted as a commission for a public museum, responding to the remit of the institution. But the deal went sour, and now it’s for sale in a private gallery.

Even more than the oil painting, fashion is creativity driven by the free market, so bringing together haute couture and public art can create an even more fractious polemic. Theoretically, fashion is the manifestation of the desires of the individual, often considered an indulgent and corrupting pleasure, in opposition to the healthy, edifying role that public art plays in improving society. It is perhaps the incessant failures of these two forms to deliver on their promises that makes them such potent forms.

Labour is not merely the expenditure of energy; within Socialist Realism, it and the labourer are heroic subjects. Labour is also an essential component of haute couture. Together with her assistants McKenzie made a replica of a 1933 couture dress by the celebrated French designer Madeleine Vionnet, and it features in the exhibition in several of the works. A tabletop trompe l’oeil still-life depicts the process of replication: it clothes a handmade mannequin in one of the display vitrines, and is worn by the same mannequin in the painting Rebecca. Painting is used to ‘intervene’ at different stages of processes that illustrate labour as both method and subject.

McKenzie’s interest in painting is rarely for its own sake. Rather it is painting as it often relates to decorative and commercial art. Hers is a prosaic rendering of real spaces and objects in one-to-one scale, done using the procedural, mechanical techniques she mastered as a decorative painter.

The objects and scenes she depictes often relate to by-gone eras. Anachronism is deliberately employed as a distancing device to reflect on contemporary attitudes and thinking. The defining characteristics of an epoch are often imperceptible until it is superseded and consigned to the past. Her layering of period styles speaks truth to how eras do not merely start and stop but overrun and spill. To illustrate this, replication offers a way in. For Atelier E.B: Passer-by McKenzie made a trompe l’oeil copy of the 1939 work Trial and Error by the British painter Meredith Frampton (the style and composition of which also underpins the construction of Still-life, on view here). A replica can never be a ‘perfect copy’, the aesthetics of its period will always subconsciously impose themselves.

This in turn is why the fashion mannequin is of such relevance: its body shape and formulaic poses reflect the aesthetics ideals of its period, the pure capitalist body, coming into and going out of fashion at an accelerated pace. The mannequin that features throughout the show is a hybrid between a fashion display doll and a statue, its head being a 3D scan of an unattributed bust in the collection of the plaster cast workshop of the Royal Museum of Art and History in Brussels. But its painted surface robs it of its high cultural value and renders it uncanny. Polychrome debases it and links it to the popular arts of marionettes, religious statuary and sex dolls.

In the hands of the Surrealists the figure of the mannequin was subverted through fragmentation. This is one of the defining characteristics of high modernism that has greatly influenced notions of beauty. The complex relationship between artist and mannequin predates the Surrealists by at least a century with the use of lay figures as stand-ins for live sitters (a practice that was so easy to detect in figurative painting in its day that it is analogous to a contemporary photoshop ‘fail’). In the painting Rebecca, McKenzie looked at portraiture as a tool in the study of the history of fashion, this being an important source of reliable data on the colours of fabric in a time before widespread colour photography.

Many of the surreal objects in the compositions in Giving Up The Shadows On My Face are made by her extended circle of friends – the Czech artist Pavla Dundálková, designers Michael Anastassiades and Valentina Cameranesi. McKenzie inhabits the methodologies and aesthetics of other artists (the architect De Bruyker, the designer Vionnet, the painter Frampton) in recognition of arts interconnectedness.

In the process of studying Vionnet and Frampton, the artist realised several points that these unrelated artists shared. Frampton’s work is balanced (both visually and conceptually) between the psychological drama of Surrealism and the shallow ocular preoccupation of Photorealism. His work’s detailed finish renders each object and person as a discrete sculptural entity, treating every element of the composition equally. By replicating Frampton’s work McKenzie observed that both the couture of Vionnet and the paintings of Frampton achieve absolute technical perfection, and that the perfection discreetly hides, beneath an impression of effortlessness, the complex procedures of construction and hours of labour needed to make them. These figures’ technical felicity bonded with conceptual ideas to produce interesting counterpoints to the prevailing ideas about Modernism that permeated their milieu in the early twentieth century. Frampton’s work would have been read as conservative within the climate of British art at the time, being neither abstract nor gestural. Similarly, Vionnet’s overt femininity and Neo-classicism was seen in opposition to the dominant notion that woman’s dress, to be explicitly modern, could only do so by adopting masculine tropes such as trousers and workwear. Her innovations were ‘hidden’ in the final gowns, which often appeared to have emerged from antiquity. The strict geometry came to life when activated by the natural movement and curves of the women she dressed.

Our taste and ideas about beauty and acceptability are shaped by context. McKenzie has a long-standing interest in the representation of women under Totalitarianism, as a stylistic form and as a reflector of Western capitalist conventions. She observed that in a city such as Moscow, where there is still a strong presence of Soviet era public art, being presented on a daily basis with idealised figures from an unfamiliar period and mindset, different from the kind that dominate public space through advertising and the mass media under Captialism, one feels one’s own personal desires being influenced and rerouted by their culture surroundings.

The large hidden mural that fills the central wall of the show has been staged as if just found beneath a false wall. It is a replica of the mural on display in the central reading room of the Russian State Library in Moscow. But it has been reinterpreted by the artist to have its repressive sexuality slightly loosened and to illustrate the private lives of individuals away from Soviet ideals. Couples furtively touch, a gymnast smokes and nakedness becomes nudity, counter to the de-sexualisation that Soviet culture tried to impose on the naked body. It is suggestion that defines the space between the pornographic and the erotic.

A mannequin cannot be naked, it can only be undressed. The mannequin perched on a tabletop sits undressed save for a pair of old Czech gym shoes. This is in honour of the important role shoes play in the essential narrative of pornography, grounding the blank body in a specific space and time. The tabletop quodlibet features sexually charged books. A found a copy of 1900 by Rebecca West turned out to have been collaged with the porn collection of a previous owner; in Temple Aux Miroirs, by the photographer Irina Ionesco and the writer Alain Robbe-Grillet, Ionesco’s use of her underage daughter as a photo model in the 1970s typifies debates around eroticism that remain contentious today.

The artist would like to thank:

Everyone at Cabinet, Michael Anastassiades, Quirin Baumler, Valentina Cameranesi, Ben Clark, Juliet Dearden, Pavla Dundálková, Laurent Gielis, Beca Lipscombe, Steff Norwood, Markus Proschek. Special thanks to Josefine Reisch and Alison Yip.

The title of the exhibition is taken from the track Giving Up by electronic musician Martial Canterel and used with permission.

Link: Lucy McKenzie at Cabinet

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