Pages 32, 28, 19, 7, 2 and one is a sculptural situation comprising of a 32 page novel in which only six pages are visible — pages 32, 28, 19, 7, 2 and one.

Page 32: The number 32 is in white on the outside of a dark green hotel room’s door. The door’s left hinge turns the door into a book’s cover one opens to read inside — where the inside, here, is a hotel room. The book’s door is propped open throughout the exhibition.

Inside, the book’s room is undergoing refurbishment. It includes many drafts, doubts, previous lives and histories, aspects to be hidden or underscored, mistakes to be covered over, passages to be cleared, plots to be shaped and conversations that direct its construction. Once complete, the refurbishment will hide much of this. The final novel will have a fresh coat of paint unifying the walls into a single whole that speaks of only one plot. New carpet will cover years of spilt paint blotched allover the aged floorboards in testimony of previous refurbishments. 

For the time being, however, the room’s uncoordinated incidences lay bare a writing process in the midst of a final scene’s act under construction.

Page 28: A lone dress hangs in an open wardrobe still being built. Lead pencil outlines the dress’ bold geometric pattern saturated in red and black watercolour. There is no zip or buttons with which to put the dress on or take it off. A part of the pattern is incomplete near the lefthand shoulder. If washed, the dress’ pattern would drain away. The label on the dress reads ‘page 28’.

Page 19: a builder’s construction drawings quickly sketched directly onto the wall to solve a structural problem while remodelling the room, have a rectangular outline that demarcates the boundary of page 19. The construction drawings extend, however, beyond the outlined edge of the page.

Page 7: two indiscriminate blotches on the floor mark the distance in which occurs page 7. The two blotched points are the outcome of unrelated circumstances irreverent of each other except for their unity as a page. 

Page 2: Alexander Rodchenko’s photo of Varvara Stepanova found in an art history book, is photocopied on an A4 page and blu-tacked to the wall. Stepanova wears a dress patterned with Stepanova’s own design. The pattern is the same pattern as seen on ‘page 28’ hanging in the wardrobe.

Page one: Instead of a numerical number one, page one is unlike the other page numbers for being spelt out as one. Page one is the one who enters the work. Page one is the one who carries the work’s plot from its opening cover to its end, the one who connects the work’s disparate moments into a coherent whole. When one walks out the room, one carries the book’s ending with them.