Certain works allude to our tendency to aesthetic criticism and judgment (Josef Strau, ‘What Should One Do?’ and ‘Maybe The Text Needs A Bit More Editing?’; Nick Mauss, ‘I want it undetectable by others in my voice’) What do you think handcrafted and reworked texts can tell us about the nature of the creative process?
In ‘What Should One Do?’ Josef writes about the importance of what he calls ‘being stupid’ as a writer…meaning that it actually helps to loosen up and write from a less obvious as this might actually allow a writer to go to places that seem illogical, a place from which they could formulate what they wouldn’t otherwise be able to if they were to write conventionally. I think with this show, several of the artists and I work by trying on other voices, by wearing the cloak of language. This means meandering; trying voices on, getting lost a bit. They say the deepest labyrinth is a straight line… but I’m not sure if that’s always true.

The exhibition follows several abstract themes (masculinity, mysticism, and spiritualism, to name a few) through the work of highly distinct practices. Do you find that show’s complexity complicates your job as curator to frame it conceptually and technically?
I think incorporating abstractions, and assimilating strands of ambiguity and uncertainty, are important aspects of drawings exhibitions together. I’ve never felt comfortable with establishing clear links and overhead