london

Rosa Loy

Entwistle Gallery

“What is the flesh? What is the physical being of man? What exactly is he made of? Tell us this afternoon, Herr Hofrat, tell us exactly, and once and for all, so that we may know!” demands Hans Castorp, protagonist of Thomas Mann’s The Magic Mountain. Unsatisfied by the Hofrat’s reply—“Water”—he embarks on his own research. Swaddled in fur and wool on his sickbed, he scours volumes on anatomy, biochemistry, and pathology. Scientific facts inexorably segue into metaphysical speculation; Castorp sinks into perverse, voluptuous hallucinations that mix the cosmological, the theological, and the erotic. “Life itself?” he starts to wonder. “Was it perhaps only an infection, a sickening of matter?”

Like Castorp, the identical twins who feature in Rosa Loy’s paintings inhabit a separate, hallucinatory world: a maybe utopian, maybe dystopian testing ground that is part spa, part sanatorium,

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