Folds of flesh colored foam are digitally printed with fragments body parts in Esther Vörösmarty's Back to the Future. While their pleated shapes evoke the tactility of flesh, the tubular metal structures from which they hang have a cold and clinical aspect. In a world in which sexual encounters are increasingly navigated through digital means, these sculptures might serve to highlight the gulf between the pixels we watch on a screen and the physicality of touch.

Rosa Abbot & Krishna Balakrishnan