Thomas Buswell: Pangloss’s Lost Candy Floss

A dominant verdigris green runs through Buswell’s multicoloured practice, appearing in dense strokes, on metal tubes and on mop-like assemblages. This pigment, historically known as Paris green, evokes both toxicity and vitality. In the exhibition, objects, residues and industrial scraps form unstable ecosystems where decomposition and renewal intertwine.

Works such as “Coffee Break”, a sandpaper painting marked by circular gestures and accidental stains, embody his circular approach to matter. Elsewhere, clusters of altered megaphones, organ-pipe structures and improvised modules suggest fragile continuities of life, caught between absurdity and transcendence.

Buswell’s theatre of objects, drawings and paintings channels waste and detritus into a language of mutation. Forces of destruction and maintenance coexist, pointing to the persistence of life in transformed, precarious forms.