Room 1 is presenting four original works for sale. Each is a delightful example of cadavre exquis, a technique invented by the surrealists. Surrealism principal founder André Breton reported that the technique was developed in the company of Yves Tanguy, Marcel Duchamp, Jacques Prévert, Benjamin Péret and Pierre Reverdy. Other participants probably included Max Morise, Joan Miró, Man Ray, Simone Collinet, Tristan Tzara, Georges Hugnet, René Char, and Paul and Nusch Éluard.

Like the aforementioned gathering of irreverent iconoclasts, the denizens of Room 1, led by the inimitable Miss Harra, have leant their own winsome digits to the whims of Spiritus Mundi, thereby letting speak through their intricate designs a higher truth. Perhaps described by some as art brute or naive art, these works nevertheless, unsullied as they are by the preoccupations of adulthood, speak to wider truths and, perhaps, act as a balm to this turbulent age by evincing an unbridled optimism.

4. Machines Explore deep seA amusement Parks aLL around The town
Edition: Original Artwork
Dimensions: 30"H x 22"W
Medium: Mixed media on Arches 140lb, acid free archival print paper

Machines Explore deep seA amusement Parks aLL around The town is a puckish amplification of the themes present in all of Room g's Cadavre Exquis series. This is perhaps the most explicit unifying of the themes in the series, that being, put simply, our relationship to the technology we have birthed and the impact of said relationship on the natural world, encompassing nothing short of the entire future of the human race. While A black Hole galaxy WitH roBot bodies and water sPiders in a heart garden and A bunny ninja fActoRY at sunset in The beautiful craze lanD of art asked difficult questions, Machines Explore deep seA amusement Parks aLL around The town seems to pain a picture of a more cohesive and balanced symbiosis between the technical and the biological realms. Although the motifs of amusement Parks and aLL around The town have the mood of leisure and exuberant rocking and rolling through an upbeat cultural space, the picture itself, hewn in distinctly analogue mediums, paints a more sinister picture. A grinning Bastet, in league with a canine-toothed calculator character who holds the hand of a young girl, suggest that while we are distracted by our screens, tuned into others' "social fun", the "Machines" are deep beneath our seas, forever changing the ecology in pursuit of the materials to make our devices of distraction.