never too much

in.oscillation

Natasha Eves
Sunday 2nd February 2020. The night before many had gone out, twelve of us in place for ten. Most of us had never met before and now we were sharing beds. I walked with her to The Whitworth, under an hours walk if I remember correctly, before trailing off to explore the gallery on my own. I appreciated the ability to oscillate between needing space but not wanting to be alone just yet. The Megabus later that evening would fulfil that role. I climbed the stairs, enticed by music drifting through the gallery—still wakening itself on this sleepy Sunday. As I approach, the darkened space becomes full with the music, charged with feeling. I’d emerged into the Excavating the Reno exhibition by Linda Brogan, full of delights, its community focus bringing me near to tears as I watch someone’s child wobble around to the music. She smiles at me and I try to do the London-look-away but she's infectious. I am humbled as usual by the north, recuperating through these forgotten socialities. The text on the wall asking in awesome simplicity: “What was your club called? The one where you went to test your personality To find your identity When you were 17? [...] Before your wage And the person you became That bears no relationship to the person you were then When you believed in magic?”

Natasha Eves is a writer and textile artist. She teaches Constructed Textiles to undergraduate and postgraduate students at Goldsmiths, University of London. Her postgraduate studies were at Goldsmiths and the California Institute of the Arts, and she is currently a member of the School of the Damned Class of 2020.