Under a dim, haunting red light, Tibet’s blocky black-and-white African fetishes look as if they’ve been doused in crimson, their faces remade by the artist into smiles and lop-sided triangle eyes. Another red-light section is dedicated to a woman in silhouette and haphazardly drawn barns with red roofs, both images inspired by an unsolved killing from the 1940s and a notorious murder and execution in 1827 England. There are a multitude of carte de visite and antique cabinet-card photographs, the eyes whited out, long lines inked from the sockets to small tear-like circles below, or scrawling above them, as if a soul were leaving the body.
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