'Skinned' / 'Detouched'
[Motto Books & Eastside Projects, 2018]
A pair of books about feelings by sculptor Alice Channer, intended as portals to a single performative stage in the industrial production of two sculptures, and as an imaginative documentation of the multiple embodiments and disembodiments involved.
The books include two texts by Fer Boyd, one of which takes the form of an erotic fiction about liquid PVC, and the other a horror story in zero gravity, for which Boyd won the 2018 Prix International for Critical Thinking in Contemporary Art awarded by the Foundation Prince Pierre de Monaco, nominated by Fatoş Üstek.
This project included live writing at two factories in Birmingham, and extended beyond the book into a collaborative soundwork 'DETOUCH' aired at various galleries including the ICA in London and Leeds Art Gallery in Yorkshire, and collaborative performative readings at Large Glass and The Sunday Painter in London, and Eastside Projects in Birmingham.
h o r i z o n t a l durational reading of 'Detouched' in its entirety, in depth-charged, high-vis, post-rave suspension by beached bodies waiting for the dip...
Sections of 'Skinned' read by soft bodies r o l l i n g over hard concrete, trying hard to gain self-locomotion,
awkwardly baby-calfing up to extra human, while alloyed crustaceans eat on repeat
Part of ‘The Shape Left By The Body’
at The Sunday Painter, London [7 July 2018]
Part of 'This is the Gallery and the Gallery is Many Things', Eastside Projects, Birmingham
[2 November 2018]
H o r i z o n t a l
to launch 'Skinned' and 'Detouched' at Large Glass, London [26 April 2018]
In DETOUCH, vocal material becomes the permanently rolling surface of a tank of industrial grade PVC. The narrative of a text - written by Boyd to creatively document the production process of the sculpture Mechanoreceptor, Icicles [red, red] [triple spring, triple strip] by Channer - is formed into a single, breathless moment. Two racing, machinic voices digitally fray and stretch, their subjectivities curdled, never pausing for the pleasure of anticipation or to re-consider pain. The materiality of the red, liquid plastic (which coats the 210 s t r e t c h e d and jigged aluminium fingers that comprise the sculpture) becomes a portal that can be pushed and dipped into - suggestive of a new, super-unreal life incubated in synthetic plasma. The fraying digits and opiate voices speed headily through complexities of authorship, worldly creation, the history of fingers and tangibility, and the idea of losing touch - of losing your grip.
Still from atmospheric, captioned video created of 'DETOUCH' for the SHELL LIKE remote communal listening event 'Our Fuming Lips Make A New Mirage' 
Fer Boyd and Alice Channer, soundwork, 9 minutes 13 seconds
Voiced by Fer Boyd and Alice Channer, produced by Fer Boyd