A Grammar of Love and Violence
For the entire duration of the show, Fornieles remained silent, whether she was in or out of the gallery. She sat in a dimly lit room filled with exaggerated references to the domestic, bordered by walls of lace, carpeted by cut hair and filled with towers made of scaffolding that resembled a family group, topped with kissing-chairs. The public were invited into the installation to interact with Eloise individually so that each audience member created his or her own experience of the work. They were free to observe and engage in a strange dialogue with Eloise who, remaining silent all the while, replied with written letters. In the gap between what was spoken and what was written, a fleeting image could be perceived of both the dissonance and connection that lies at the heart of all human efforts at communication.