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For our newest issue, “Salad Days,” we asked artist Ruoru Mou for a double-page spread. Find their “Where You Hid” (2025) printed in glossy full bleed in your favorite magazine store, or order your copy of Spike #86 via our webshop.

Courtesy: the artist and Cell Project Space, London

#spikeartmagazine

Ruoru Mou unravels the material politics of value through skins, molds, factory debris, and the bureaucratic residues that shape labour, inheritance, and desire. Her installations blur authenticity and imitation, transforming industrial processes into emotional landscapes of care, debt, and endurance. In conversation with Olivia Aherne, Mou reflects on how reuse, ornament, and speculative environments reveal the systems that classify, exhaust, and ultimately remake the bodies that move through them.

Hit the link in bio to read “Skin, Cloth, Paper, Snow,” a conversation between @ruorumou and @oliviaaherne from 353 Winter 2025–26.

#RuoruMou
#OliviaAherne
#FlashArt353
#FlashArtMagazine

Ruoru Mou unravels the material politics of value through skins, molds, factory debris, and the bureaucratic residues that shape labour, inheritance, and desire. Her installations blur authenticity and imitation, transforming industrial processes into emotional landscapes of care, debt, and endurance. In conversation with Olivia Aherne, Mou reflects on how reuse, ornament, and speculative environments reveal the systems that classify, exhaust, and ultimately remake the bodies that move through them.

Hit the link in bio to read “Skin, Cloth, Paper, Snow,” a conversation between @ruorumou and @oliviaaherne from 353 Winter 2025–26.

#RuoruMou
#OliviaAherne
#FlashArt353
#FlashArtMagazine

Ruoru Mou unravels the material politics of value through skins, molds, factory debris, and the bureaucratic residues that shape labour, inheritance, and desire. Her installations blur authenticity and imitation, transforming industrial processes into emotional landscapes of care, debt, and endurance. In conversation with Olivia Aherne, Mou reflects on how reuse, ornament, and speculative environments reveal the systems that classify, exhaust, and ultimately remake the bodies that move through them.

Hit the link in bio to read “Skin, Cloth, Paper, Snow,” a conversation between @ruorumou and @oliviaaherne from 353 Winter 2025–26.

#RuoruMou
#OliviaAherne
#FlashArt353
#FlashArtMagazine

Last day of ‘Fortunate’ @cell_project_space, sad to see this one go

Here’s a text by @adomas.n on the “Tease” series:

“In the front gallery, vitrine works Tease 001, Tease 002 and Tease 003 reference both luxury retail displays and Chinese restaurant decorative motifs, reusing the ornaments the artist’s grandfather crafted when her family first opened the restaurant in Italy. Steel cutting moulds for leather bags encase an organic, marble-like material composed of gelatine, glycerine, restaurant grease and soy sauce – ‘skins’ derived from Mou’s earlier work Hung Out to Dry, Holding the Bag (2025–). Pressed into the moulds, the skins push against them, shrinking and sweating over time, caught between preservation and decay. In Tease, ornament is an excess frustrating the neutrality of utility, doubling as a device of seduction, dressed in a fantasy of terror and beauty all at once.

This reuse of a ‘skin’ is pivotal to Mou’s process: the works form part of her own ‘factory’, where an earlier body (of work) is reprocessed into a new one. The factory here is subject and method, an ongoing cycle of casting, pressing, shrinking, shredding, reshaping and re-valuing. In Mou’s work, methods of preservation echo the sustaining and exhausting measures required to keep bodies and materials in circulation. Throughout Fortunate, organic, bureaucratic and phantasmic skins compound into identifications, patterns and protective projections, arranging and transforming the body in ways required but not necessarily wanted.”

Last day of ‘Fortunate’ @cell_project_space, sad to see this one go

Here’s a text by @adomas.n on the “Tease” series:

“In the front gallery, vitrine works Tease 001, Tease 002 and Tease 003 reference both luxury retail displays and Chinese restaurant decorative motifs, reusing the ornaments the artist’s grandfather crafted when her family first opened the restaurant in Italy. Steel cutting moulds for leather bags encase an organic, marble-like material composed of gelatine, glycerine, restaurant grease and soy sauce – ‘skins’ derived from Mou’s earlier work Hung Out to Dry, Holding the Bag (2025–). Pressed into the moulds, the skins push against them, shrinking and sweating over time, caught between preservation and decay. In Tease, ornament is an excess frustrating the neutrality of utility, doubling as a device of seduction, dressed in a fantasy of terror and beauty all at once.

This reuse of a ‘skin’ is pivotal to Mou’s process: the works form part of her own ‘factory’, where an earlier body (of work) is reprocessed into a new one. The factory here is subject and method, an ongoing cycle of casting, pressing, shrinking, shredding, reshaping and re-valuing. In Mou’s work, methods of preservation echo the sustaining and exhausting measures required to keep bodies and materials in circulation. Throughout Fortunate, organic, bureaucratic and phantasmic skins compound into identifications, patterns and protective projections, arranging and transforming the body in ways required but not necessarily wanted.”

Last day of ‘Fortunate’ @cell_project_space, sad to see this one go

Here’s a text by @adomas.n on the “Tease” series:

“In the front gallery, vitrine works Tease 001, Tease 002 and Tease 003 reference both luxury retail displays and Chinese restaurant decorative motifs, reusing the ornaments the artist’s grandfather crafted when her family first opened the restaurant in Italy. Steel cutting moulds for leather bags encase an organic, marble-like material composed of gelatine, glycerine, restaurant grease and soy sauce – ‘skins’ derived from Mou’s earlier work Hung Out to Dry, Holding the Bag (2025–). Pressed into the moulds, the skins push against them, shrinking and sweating over time, caught between preservation and decay. In Tease, ornament is an excess frustrating the neutrality of utility, doubling as a device of seduction, dressed in a fantasy of terror and beauty all at once.

This reuse of a ‘skin’ is pivotal to Mou’s process: the works form part of her own ‘factory’, where an earlier body (of work) is reprocessed into a new one. The factory here is subject and method, an ongoing cycle of casting, pressing, shrinking, shredding, reshaping and re-valuing. In Mou’s work, methods of preservation echo the sustaining and exhausting measures required to keep bodies and materials in circulation. Throughout Fortunate, organic, bureaucratic and phantasmic skins compound into identifications, patterns and protective projections, arranging and transforming the body in ways required but not necessarily wanted.”

Last day of ‘Fortunate’ @cell_project_space, sad to see this one go

Here’s a text by @adomas.n on the “Tease” series:

“In the front gallery, vitrine works Tease 001, Tease 002 and Tease 003 reference both luxury retail displays and Chinese restaurant decorative motifs, reusing the ornaments the artist’s grandfather crafted when her family first opened the restaurant in Italy. Steel cutting moulds for leather bags encase an organic, marble-like material composed of gelatine, glycerine, restaurant grease and soy sauce – ‘skins’ derived from Mou’s earlier work Hung Out to Dry, Holding the Bag (2025–). Pressed into the moulds, the skins push against them, shrinking and sweating over time, caught between preservation and decay. In Tease, ornament is an excess frustrating the neutrality of utility, doubling as a device of seduction, dressed in a fantasy of terror and beauty all at once.

This reuse of a ‘skin’ is pivotal to Mou’s process: the works form part of her own ‘factory’, where an earlier body (of work) is reprocessed into a new one. The factory here is subject and method, an ongoing cycle of casting, pressing, shrinking, shredding, reshaping and re-valuing. In Mou’s work, methods of preservation echo the sustaining and exhausting measures required to keep bodies and materials in circulation. Throughout Fortunate, organic, bureaucratic and phantasmic skins compound into identifications, patterns and protective projections, arranging and transforming the body in ways required but not necessarily wanted.”

Collect Fees Document (receipt holder), 2025
Receipt holder, wash label
13 x 100 cm

Collect Fees Document (wash label), 2025
Wash label, cotton thread
3 x 88 cm

“Collect Fees Document (wash label) lists the snowstorm’s composition in percentages, mimicking garment tags that signal ‘purity’, even down to arbitrary micro-quantities — 0.0000001% soy, 0.001% chromium leather dust. As with ‘authentic’ tags, the breakdown is a fantasy, reflecting contradictions of subjective judgment in how labour, authenticity, value and life itself are classified.”

bad English translation of a restaurant receipt holder in trad communist red. ‘Fortunate’ continues @cell_project_space till 14th dec <3, open thurs-sunday

📸: Damian Griffith

Collect Fees Document (receipt holder), 2025
Receipt holder, wash label
13 x 100 cm

Collect Fees Document (wash label), 2025
Wash label, cotton thread
3 x 88 cm

“Collect Fees Document (wash label) lists the snowstorm’s composition in percentages, mimicking garment tags that signal ‘purity’, even down to arbitrary micro-quantities — 0.0000001% soy, 0.001% chromium leather dust. As with ‘authentic’ tags, the breakdown is a fantasy, reflecting contradictions of subjective judgment in how labour, authenticity, value and life itself are classified.”

bad English translation of a restaurant receipt holder in trad communist red. ‘Fortunate’ continues @cell_project_space till 14th dec <3, open thurs-sunday

📸: Damian Griffith

Collect Fees Document (receipt holder), 2025
Receipt holder, wash label
13 x 100 cm

Collect Fees Document (wash label), 2025
Wash label, cotton thread
3 x 88 cm

“Collect Fees Document (wash label) lists the snowstorm’s composition in percentages, mimicking garment tags that signal ‘purity’, even down to arbitrary micro-quantities — 0.0000001% soy, 0.001% chromium leather dust. As with ‘authentic’ tags, the breakdown is a fantasy, reflecting contradictions of subjective judgment in how labour, authenticity, value and life itself are classified.”

bad English translation of a restaurant receipt holder in trad communist red. ‘Fortunate’ continues @cell_project_space till 14th dec <3, open thurs-sunday

📸: Damian Griffith

Collect Fees Document (receipt holder), 2025
Receipt holder, wash label
13 x 100 cm

Collect Fees Document (wash label), 2025
Wash label, cotton thread
3 x 88 cm

“Collect Fees Document (wash label) lists the snowstorm’s composition in percentages, mimicking garment tags that signal ‘purity’, even down to arbitrary micro-quantities — 0.0000001% soy, 0.001% chromium leather dust. As with ‘authentic’ tags, the breakdown is a fantasy, reflecting contradictions of subjective judgment in how labour, authenticity, value and life itself are classified.”

bad English translation of a restaurant receipt holder in trad communist red. ‘Fortunate’ continues @cell_project_space till 14th dec <3, open thurs-sunday

📸: Damian Griffith

Collect Fees Document (receipt holder), 2025
Receipt holder, wash label
13 x 100 cm

Collect Fees Document (wash label), 2025
Wash label, cotton thread
3 x 88 cm

“Collect Fees Document (wash label) lists the snowstorm’s composition in percentages, mimicking garment tags that signal ‘purity’, even down to arbitrary micro-quantities — 0.0000001% soy, 0.001% chromium leather dust. As with ‘authentic’ tags, the breakdown is a fantasy, reflecting contradictions of subjective judgment in how labour, authenticity, value and life itself are classified.”

bad English translation of a restaurant receipt holder in trad communist red. ‘Fortunate’ continues @cell_project_space till 14th dec <3, open thurs-sunday

📸: Damian Griffith

Collect Fees Document (receipt holder), 2025
Receipt holder, wash label
13 x 100 cm

Collect Fees Document (wash label), 2025
Wash label, cotton thread
3 x 88 cm

“Collect Fees Document (wash label) lists the snowstorm’s composition in percentages, mimicking garment tags that signal ‘purity’, even down to arbitrary micro-quantities — 0.0000001% soy, 0.001% chromium leather dust. As with ‘authentic’ tags, the breakdown is a fantasy, reflecting contradictions of subjective judgment in how labour, authenticity, value and life itself are classified.”

bad English translation of a restaurant receipt holder in trad communist red. ‘Fortunate’ continues @cell_project_space till 14th dec <3, open thurs-sunday

📸: Damian Griffith

Dirty Snow, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, microcontroller, relay control boards, cabling, PIR motion sensor
Dimensions variable

‘Fortunate’ continues @cell_project_space until 14th December, curated by Adomas Narkevičius

Photos by Damian Griffith

Dirty Snow, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, microcontroller, relay control boards, cabling, PIR motion sensor
Dimensions variable

‘Fortunate’ continues @cell_project_space until 14th December, curated by Adomas Narkevičius

Photos by Damian Griffith

Dirty Snow, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, microcontroller, relay control boards, cabling, PIR motion sensor
Dimensions variable

‘Fortunate’ continues @cell_project_space until 14th December, curated by Adomas Narkevičius

Photos by Damian Griffith

Dirty Snow, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, microcontroller, relay control boards, cabling, PIR motion sensor
Dimensions variable

‘Fortunate’ continues @cell_project_space until 14th December, curated by Adomas Narkevičius

Photos by Damian Griffith

Dirty Snow, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, microcontroller, relay control boards, cabling, PIR motion sensor
Dimensions variable

‘Fortunate’ continues @cell_project_space until 14th December, curated by Adomas Narkevičius

Photos by Damian Griffith

Dirty Snow, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, microcontroller, relay control boards, cabling, PIR motion sensor
Dimensions variable

‘Fortunate’ continues @cell_project_space until 14th December, curated by Adomas Narkevičius

Photos by Damian Griffith

Dirty Snow, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, microcontroller, relay control boards, cabling, PIR motion sensor
Dimensions variable

‘Fortunate’ continues @cell_project_space until 14th December, curated by Adomas Narkevičius

Photos by Damian Griffith

Hung out of dry, holding the bag (2025) installed @kaunasbiennial earlier this year. Invited and curated by @adomas.n

“In a monotonous and intensive process, the artist cooks sheets of faux 'leather' from gelatine, glucose, cornstarch, soy sauce, and grease sourced from Chinese restaurants, then suspends them to dry in a structure inspired by a tannery near Florence, Italy. The unstable chemistry of the 'leather', prone to sweating and separating under heat, mimics rawhide in its curing process. Each sheet is marked with the artist’s grandfather’s seals and factory-style codes appropriated from Celine product numbers, setting the Chinese seal tradition, where authorship is cumulative and shared, against the branding logic of luxury fashion and its demand for individuality and authenticity.

Through a culinary and alchemic, self-kitschified process, the clichés of Chinese restaurants and the economies of Tuscan leather workshops overlap. Sustained by migrant networks, these overlaps both offer entry and protection while creating ambivalent cycles of dependence. The artist is interested in shanzhai, the re-use of waste, surplus, and borrowed forms, as a way of thinking through how value is produced, how excess accumulates, and how certain forms of labour are seen as legitimate or illegitimate.”

📸: Jonas Balsevičius

Hung out of dry, holding the bag (2025) installed @kaunasbiennial earlier this year. Invited and curated by @adomas.n

“In a monotonous and intensive process, the artist cooks sheets of faux 'leather' from gelatine, glucose, cornstarch, soy sauce, and grease sourced from Chinese restaurants, then suspends them to dry in a structure inspired by a tannery near Florence, Italy. The unstable chemistry of the 'leather', prone to sweating and separating under heat, mimics rawhide in its curing process. Each sheet is marked with the artist’s grandfather’s seals and factory-style codes appropriated from Celine product numbers, setting the Chinese seal tradition, where authorship is cumulative and shared, against the branding logic of luxury fashion and its demand for individuality and authenticity.

Through a culinary and alchemic, self-kitschified process, the clichés of Chinese restaurants and the economies of Tuscan leather workshops overlap. Sustained by migrant networks, these overlaps both offer entry and protection while creating ambivalent cycles of dependence. The artist is interested in shanzhai, the re-use of waste, surplus, and borrowed forms, as a way of thinking through how value is produced, how excess accumulates, and how certain forms of labour are seen as legitimate or illegitimate.”

📸: Jonas Balsevičius

Hung out of dry, holding the bag (2025) installed @kaunasbiennial earlier this year. Invited and curated by @adomas.n

“In a monotonous and intensive process, the artist cooks sheets of faux 'leather' from gelatine, glucose, cornstarch, soy sauce, and grease sourced from Chinese restaurants, then suspends them to dry in a structure inspired by a tannery near Florence, Italy. The unstable chemistry of the 'leather', prone to sweating and separating under heat, mimics rawhide in its curing process. Each sheet is marked with the artist’s grandfather’s seals and factory-style codes appropriated from Celine product numbers, setting the Chinese seal tradition, where authorship is cumulative and shared, against the branding logic of luxury fashion and its demand for individuality and authenticity.

Through a culinary and alchemic, self-kitschified process, the clichés of Chinese restaurants and the economies of Tuscan leather workshops overlap. Sustained by migrant networks, these overlaps both offer entry and protection while creating ambivalent cycles of dependence. The artist is interested in shanzhai, the re-use of waste, surplus, and borrowed forms, as a way of thinking through how value is produced, how excess accumulates, and how certain forms of labour are seen as legitimate or illegitimate.”

📸: Jonas Balsevičius

Hung out of dry, holding the bag (2025) installed @kaunasbiennial earlier this year. Invited and curated by @adomas.n

“In a monotonous and intensive process, the artist cooks sheets of faux 'leather' from gelatine, glucose, cornstarch, soy sauce, and grease sourced from Chinese restaurants, then suspends them to dry in a structure inspired by a tannery near Florence, Italy. The unstable chemistry of the 'leather', prone to sweating and separating under heat, mimics rawhide in its curing process. Each sheet is marked with the artist’s grandfather’s seals and factory-style codes appropriated from Celine product numbers, setting the Chinese seal tradition, where authorship is cumulative and shared, against the branding logic of luxury fashion and its demand for individuality and authenticity.

Through a culinary and alchemic, self-kitschified process, the clichés of Chinese restaurants and the economies of Tuscan leather workshops overlap. Sustained by migrant networks, these overlaps both offer entry and protection while creating ambivalent cycles of dependence. The artist is interested in shanzhai, the re-use of waste, surplus, and borrowed forms, as a way of thinking through how value is produced, how excess accumulates, and how certain forms of labour are seen as legitimate or illegitimate.”

📸: Jonas Balsevičius

Central to ‘Fortunate’, kinetic sculpture ‘Dirty Snow’ transforms the back gallery into an enclosed chamber. In the cooler room, only visible through the port holes of the fitted steel doors, automated industrial fans propel a blizzard of shredded detritus that includes carnival confetti, residence permits, visas, sanitary certificates, risk assessments, medical booklets assessing fitness for industrial labour and maintenance logs, debt collecting receipts, among other paperwork required to access care, income and legal personhood in Italy, the UK or the Netherlands. These fragments circulate as bureaucratic weather, mixing hierarchies of industrial residue, administrative remnants and sci-fi tropes.

Pictured: ‘Dirty Snow’, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, Microcontroller, relay control boards, cabling, PIR motion sensor

‘Fortunate’ is open until 14th December, Thursday - Sunday, 12-6pm.

Curator Adomas Narkevičius

Generously supported by Henry Moore Foundation, The Elephant Trust and Cockayne Fund

Camera by Arvo Leo @arvoleo

@ruorumou @adomas.n @henrymoorefdn_grants @cockaynefoundation #elephanttrust

Central to ‘Fortunate’, kinetic sculpture ‘Dirty Snow’ transforms the back gallery into an enclosed chamber. In the cooler room, only visible through the port holes of the fitted steel doors, automated industrial fans propel a blizzard of shredded detritus that includes carnival confetti, residence permits, visas, sanitary certificates, risk assessments, medical booklets assessing fitness for industrial labour and maintenance logs, debt collecting receipts, among other paperwork required to access care, income and legal personhood in Italy, the UK or the Netherlands. These fragments circulate as bureaucratic weather, mixing hierarchies of industrial residue, administrative remnants and sci-fi tropes.

Pictured: ‘Dirty Snow’, 2025
Stainless steel cooler room doors, shredded documents, shredded receipts, carnival confetti, powdered celluloid, chromium(III) leather dust, industrial fans, Microcontroller, relay control boards, cabling, PIR motion sensor

‘Fortunate’ is open until 14th December, Thursday - Sunday, 12-6pm.

Curator Adomas Narkevičius

Generously supported by Henry Moore Foundation, The Elephant Trust and Cockayne Fund

Camera by Arvo Leo @arvoleo

@ruorumou @adomas.n @henrymoorefdn_grants @cockaynefoundation #elephanttrust

Fortunate is currently on view @cell_project_space until 14th December, curated by @adomas.n // thanks to everyone who’s visited and thank you Milika, @amoeba.yyy and rest of team 🪽🩶🌪️ photos by Damian Griffiths

Fortunate is currently on view @cell_project_space until 14th December, curated by @adomas.n // thanks to everyone who’s visited and thank you Milika, @amoeba.yyy and rest of team 🪽🩶🌪️ photos by Damian Griffiths

Fortunate is currently on view @cell_project_space until 14th December, curated by @adomas.n // thanks to everyone who’s visited and thank you Milika, @amoeba.yyy and rest of team 🪽🩶🌪️ photos by Damian Griffiths

Helloo ldn, my show ‘Fortunate’ opens next Thursday at @cell_project_space . V excited to show you some of the things I’ve been working on for the last 2 yrs in Amsterdam. Thank you eternally for the friendship and conversations @adomas.n, and for inviting me back home 🩵
TY Milika, @amoeba.yyy and @sam953_ for making dreams come true

PV Oct 9th 6-9pm

Helloo ldn, my show ‘Fortunate’ opens next Thursday at @cell_project_space . V excited to show you some of the things I’ve been working on for the last 2 yrs in Amsterdam. Thank you eternally for the friendship and conversations @adomas.n, and for inviting me back home 🩵
TY Milika, @amoeba.yyy and @sam953_ for making dreams come true

PV Oct 9th 6-9pm

Helloo ldn, my show ‘Fortunate’ opens next Thursday at @cell_project_space . V excited to show you some of the things I’ve been working on for the last 2 yrs in Amsterdam. Thank you eternally for the friendship and conversations @adomas.n, and for inviting me back home 🩵
TY Milika, @amoeba.yyy and @sam953_ for making dreams come true

PV Oct 9th 6-9pm

Helloo ldn, my show ‘Fortunate’ opens next Thursday at @cell_project_space . V excited to show you some of the things I’ve been working on for the last 2 yrs in Amsterdam. Thank you eternally for the friendship and conversations @adomas.n, and for inviting me back home 🩵
TY Milika, @amoeba.yyy and @sam953_ for making dreams come true

PV Oct 9th 6-9pm

Helloo ldn, my show ‘Fortunate’ opens next Thursday at @cell_project_space . V excited to show you some of the things I’ve been working on for the last 2 yrs in Amsterdam. Thank you eternally for the friendship and conversations @adomas.n, and for inviting me back home 🩵
TY Milika, @amoeba.yyy and @sam953_ for making dreams come true

PV Oct 9th 6-9pm

We are excited to announce ‘Fortunate’, a forthcoming solo exhibition of newly commissioned works by Ruoru Mou, opening on Thursday, 9 October, 6-9 pm.

For her most ambitious project to date, the artist reappropriates industrial forms, cinematic tropes, bureaucratic residue, and manufacturing waste to address the material politics of luxury fashion, migrant labour, the circulation and optics of value, and regulatory subjectivity.

The exhibition features a fully enclosed chamber constructed from industrial and bureaucratic remnants sourced from Tuscan industries. Chromium leather dust, discarded shavings, debt collection receipts, invoices from annual returns, and ledgers are gathered around an expansive kinetic sculpture.

Fortunate probes the material politics of fashion, global labour dynamics, ornamentalism, and regulatory subjectivity. Through this constellation, the artist interrogates unstable classifications of materials, identities, and economic structures, as well as the regulatory processes that simultaneously reinforce and obscure these distinctions.

Join us for drinks at the opening—RSVP link in our bio.

Curator Adomas Narkevičius

Generously supported by Henry Moore Foundation, The Elephant Trust and Cockayne Fund

@ruorumou @adomas.n @henrymoorefdn_grants @cockaynefoundation #elephanttrust

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Amy Jones (@e_amyj) investigates what’s revealed and obscured in the clichés addressed in Ruoru Mou (@ruorumou)’s practice, whose sculptures and installations engage with repeated images as they circulate through popular culture and industrial production.

Follow the link in Mousse’s bio to read the Tidbit.

Thank you @e_amyj for this really generous and beautiful text “Hung Out to Dry” in the summer issue of Mousse Magazine, out now in print and online. Link in bio 🩵

Thank you @e_amyj for this really generous and beautiful text “Hung Out to Dry” in the summer issue of Mousse Magazine, out now in print and online. Link in bio 🩵