“You can step on everything,” says artist Mandy El-Sayegh, gesturing around the loft of a former glassmaking factory in south London where walls and floors are covered with layer upon layer of canvas, fabric and paper. Red paint gathers in sinister pools. All around are screen-printed snippets of text. “Sex Attack” jumps out in red. “Sea Breeze” catches the eye in a colour El-Sayegh calls “institutional green”. “I can’t make the work if I don’t have a mess,” she says. “The studio is like a big brain really.”
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Victoria Woodcock. , FT
