I bought around 15m of muslin and sewed it all together attaching them to an embroidery hoop. The presentation has significantly improved since then. I made the descision since the lost for words exhibition to keep the muslin in a pristine a state as possible as I purposely created a wrinkled texture by scrunching the material to create a texture that made it difficult to see the projection up close. I liked this, but I think it made the design look pretty shoddy so I was careful not to ruin the condition of this new material. I think it complete cancels out the chair making it appear completely redundant, and acts as a frustratingly tantalising barrier between the viewer and the cage. I think it has sensualised the object of sorts, similarly the long white flowing dress of the women in the Fuseli painting, 'The Nightmare'. It is a very fragile set up as already people have come in and changed the form of the muslin. The fragility i find a strange contrast as I see an architectural element to it, one reflective of some of the huge funeral monuments- that are built to stay in tact. It is dreamlike and very much reminds me of this fuseli painting I looked at earlier in the year. My next task after I am allowed back into the studio is to create a second suit out of the muslin to wear. I can imagine in this moment a performance integrating the body back into it but being very still. Preservation as if under the drapery time pauses. My focus now is to set up the studio for assessment, which I think will consist of this work in it's unfinished state, the writing projected and integrated with the new burlap suit, making sure each work has ironically space to breathe.