The work is collectively entitled CUSHIONED, but the viewer, in this case, has been effectively cushioned from the sense of soft depth that one might associate with the sculptural softness of an Oldenburg form. There is no couch, bed or chair in sight.

The title invites us to consider metaphorically the idea of a soft covering or support. Here the cushion material has become soft canvas, stretched onto a wooden frame and hung as a discreet object upon a gallery wall. Does the artwork then become a stylised, commodified cushion? Or is Knight’s more complex intention to actively ‘cushion’ or ‘protect’ aspects of craft history, to enlarge, archive and reproduce ad infinitum a range of images that might more conventionally be assigned to a domestic setting and experience.

Amanda Johnson