For years, Lilly Fisher has been gathering abandoned objects: parts of discarded furniture, discarded worn toys, and rejected domestic items left in the street. A moment before they crumble, she brings them to her studio in a belated rescue operation. She then creates a new body of work from them, based on acts of joining and bonding, mostly repeating the act of wrapping in layers of glue, brown paper, and sticky tape. The repetitive ritualistic binding is more than a technical means of fastening; it is an act of joining and bandaging, containing qualities of care and healing, alongside the possibility of unification and coalescence. The brown paper wrapping blurs the objects' original outlines, creating a unified surface, like skin, peeled back at times. According to the scholar Jonathan Hirschfeld, "these sculptures a treated ready-mades." "Ready-mades that time has wounded and were bound by papier-mâché, in a bandage of glue." The wrapping is revealed as the poetics of solace – an act that heals the object and affords it an accumulating status within a new body. The ready-made's being "treated" has a double meaning: alongside the manipulations it undergoes, it is also part of a corrective process, in which some elements are preserved while others are being erased, and layers of time are woven into the material.
The works range from the assemblage tradition - the joining of everyday functionless materials - with sculptural subversion; they are assemblages in spirit, but not in the full

sense of the classic concept, because they generate sculptural volume and create space around them, concealing the contours of the objects that compose them beneath their wraps. Fischer embraces the "anarchy" of Dadaist assemblage, while simultaneously seeking to impose order upon chaos, to create a new unity from a multitude of orphaned fragments. In this way, the works offer a commentary on the ability of discarded materials or scraps to become masses of presence, coalescing into new meaning out of destruction.

The result is an array of sculptures of hybrid creatures, gathered in the exhibition as a tribe of entities lacking identity or a clear definition, poignant in their physicality and surprising humanity. At times, they waver between human and animal imagery, at other times between the animate and the inanimate. "Non-bodies intertwine like vine tendrils," writes Hirschfeld of them, "without identity, without essence, only a writhing existence…" Just as their limbs - the treated ready-made objects - cling to one another and interweave into a new amorphous body, so do the sculptures gather in the exhibition space like a group of survivors clinging to one another. This installation, creating a sort of gathering or assembly, simulates a communal entity and a scenario of shared survival: a community of fragments joined together and leaning on each other, an emergency assembly producing a new order out of chaos. Fischer's works thus offer a social-metaphorical image of a world where destruction and salvation intertwine, and the aspiration to forge a new order is cloaked in compassion.