Matthew Brannon’s Switching Positions is executed as a wall mural. Showing an entanglement of knives, Brannon conceives not a logo of violence, but apathy. Rendered in black and dripping ‘blood’, Brannon’s blades are diminished to the international language of pictograph signposting, exuding an outline of ‘idea’ rather than a portent of immediate threat. Through this reduction, Brannon presents content as void: his weapons are represented by a blank vacancy, precariously balanced in harmonious composition. Emblazoned in grand scale, Switching Positions presents an unnerving propaganda of disconsolation and hopelessness.

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