For Gabriele Beveridge’s first solo exhibition with Parisian Laundry, the London-based artist presents Soft Shrinking Tremor. Here, Beveridge assembles found objects and images with newly fashioned parts that subtly evoke the tactual and evanescent contact between the body and the accessories and processes that serve to embellish it. An abandoned beauty product advertisement, hair salon imagery, presentation walls and counters are salvaged and reassembled, their fatigue and disuse is magnified by the contrasts established through the artist’s juxtaposition of old and new. In works from the Clouds series, a palette of nail varnish shades is applied to the softly powder-coated pegboards that are fitted alongside shop panels covered in the discoloured drips of a thousand products that have lost their sheen. In Prophetic Souls, pristine chrome bars reveal themselves as more than simple presentation mechanisms, as their bends and curves suggest a skeletal form, perhaps a rib cage, deformed and appended. The impression of a corporeal presence is emphasized by a leitmotif that emerges throughout the exhibition, the presence of hand-blown glass bubbles, at times vibrantly coloured, that find themselves carefully propped up, and upon closer look, moulded around shop fittings, or the rectilinear lines of a framed image. The curves and droops of these radiant bubbles function as halos that attract the eye in all their reflective powers, while also as appendages – a silicon implant that has fallen off one of its subjects. Throughout these assemblages that one can imagine as potentially infinitely dissembled and reassembled, Beveridge develops an art of prosthesis that traces the contours of a body liberated from the laws of the organic. A body that is defined by appendages and adornments rather than its organs, an eerie body that tremors with the expectation and promise of transformation.