Two Pieces of Paper
Published (2026)
Two Pieces of Paper
Two Pieces of Paper: A Thousand Words Say a Picture is a curated artist publication bringing together the work of 48 artists, each invited to contribute two pieces of paper. The publication takes the form of a hand-held, limited-edition book, bringing all 48 contributions together in sequence. Each artist was given the same simple starting point: find two pieces of paper and make something happen.
No prescribed subject. No particular size. No requirement to explain. Just two pieces of paper and the possibility of what might happen when they are placed together. The resulting works range from collage and drawing to photography, painting, and more. Some are carefully constructed; others feel almost accidental. Some make you look twice, while others invite you to wonder what happened in between the two pieces of paper.
The physical format is deliberately straightforward. It is a book that can be picked up, opened, held, passed around and explored at your own pace. Rather than presenting the works as precious or distant objects, the publication creates an intimate encounter between artist, page and reader.
The Titles/Artists/Medium are all removed and the works are sequenced to provide connections, not always apparent or reminiscence of previous works seen. The project formed part of my wider presentation and curatorial research, A Thousand Words Say a Picture, which explores how exhibitions can create meaning through experience, language, sequencing and the spaces between things - rather than relying solely on the artwork as an object to be looked at.
In that sense, Two Pieces of Paper is both a publication and a small exhibition in your hands. The works do not simply sit beside one another; their relationships create new possibilities for interpretation. Turn a page, place one work next to another, change the sequence — and the conversation changes.
Two pieces of paper. Forty-eight artists. One book. Quite a lot can happen in between.
Contributing Artists in Alphbetical order:
MILLIE BARTLETT - DANILO BRANDAO - DENNIS BUSCH - JOSPEH CARTWRIGHT - JORGE CHAMORRO - ELI CRAVEN - JAMES DAWE - SHEZAD DAWOOD - PAOLA DCROZ - LOLA DUPRE -JOSEBA ESKUBI - JACK FELICE - FERANSIS - NINA FRASER - CHRISTOPHER GIDEON - ANDREW GRASSIE - JELLE VAN DEN HEEDE - DEAN HODGSON - NICOLAI HOWALT - MAITE JANE - PHILIPPE JUSFORGUES - EVA LAKE - NICHOLAS LOCKYER - MAX-O-MATIC - RAMI MAYMON - MIGHTY JOE CASTRO - SIMON MORETTI - GERT MOTMANS - MARK MULRONEY - CACO NEVES - BROOKE NEWBERRY - BILL NOIR - OLIVER KOLDING PALM - ISABEL REITEMEYER - ZEINAB SALEH - PHIL SCOTT - SILLA SIMONE - MIKAEL SIRILA - NOELIA MORA SOLVEZ - SITAARA STODEL - SERGEI SVIATCHENKO - MARK WALLINGER - HENRY WARD - NATHANIEL WHITCOMB - JOHN WHITLOCK - NIKO VARTIANEN - RICHARD VERGEZ - ROBERT VOIGTS - MARIO ZOOTS
Wrestling,
Spinderihallerne, Vejle, Denmark
Spinderihallerne, Vejle, Denmark
Wrestling (2025)
Wrestling was a group exhibition curated by Phil Scott at Spinderihallerne, Vejle, bringing together the work of five artists to explore how pop culture, politics and tradition shape our ideas of masculinity. The exhibition ran from 3 April to 16 May 2025.
The starting point was simple: What does it mean to be a man?
From there, things became considerably less simple. Using wrestling as both subject and metaphor, the exhibition explored the performance of masculinity — the bodies, behaviours, stereotypes and expectations that surround it. Wrestling provided an intentionally theatrical lens through which to consider ideas of strength, vulnerability, competition, heroism and identity. As with wrestling itself, the boundary between performance and reality was never entirely fixed.
The exhibition brought together artists whose approaches ranged from collage and image manipulation to drawing, painting and sculpture. Rather than illustrating a single argument about masculinity, the works were deliberately placed in conversation with one another, allowing contradictions, humour and uncomfortable moments to emerge.
This was important to the curation. Wrestling was not intended to tell the audience what masculinity is, but to create a space in which its construction could be questioned. The title therefore does a little more work than it first appears to. Wrestling describes the subject, but it also describes the act of looking: ideas wrestle with one another, images wrestle with their original meanings, and the audience is invited to wrestle with its own assumptions.
There is something serious here.There is also something slightly ridiculous. Because perhaps that is the point. Masculinity is often performed with enormous seriousness, while much of what we recognise as masculine behaviour is, in itself, a kind of elaborate performance.
Wrestling was a group exhibition curated by Phil Scott at Spinderihallerne, Vejle, bringing together the work of five artists to explore how pop culture, politics and tradition shape our ideas of masculinity. The exhibition ran from 3 April to 16 May 2025.
The starting point was simple: What does it mean to be a man?
From there, things became considerably less simple. Using wrestling as both subject and metaphor, the exhibition explored the performance of masculinity — the bodies, behaviours, stereotypes and expectations that surround it. Wrestling provided an intentionally theatrical lens through which to consider ideas of strength, vulnerability, competition, heroism and identity. As with wrestling itself, the boundary between performance and reality was never entirely fixed.
The exhibition brought together artists whose approaches ranged from collage and image manipulation to drawing, painting and sculpture. Rather than illustrating a single argument about masculinity, the works were deliberately placed in conversation with one another, allowing contradictions, humour and uncomfortable moments to emerge.
This was important to the curation. Wrestling was not intended to tell the audience what masculinity is, but to create a space in which its construction could be questioned. The title therefore does a little more work than it first appears to. Wrestling describes the subject, but it also describes the act of looking: ideas wrestle with one another, images wrestle with their original meanings, and the audience is invited to wrestle with its own assumptions.
There is something serious here.There is also something slightly ridiculous. Because perhaps that is the point. Masculinity is often performed with enormous seriousness, while much of what we recognise as masculine behaviour is, in itself, a kind of elaborate performance.
