Parts unknown

New bodies of work to probe and peruse.


Decapitati­on seems an appropriat­e motif for artist Lillian O’Neil, given her epic collages are formed through a cut-up technique that sees pre-digital pictures from a fastidious­ly compiled archive spliced and sutured into compelling new stories. “The cut is to interrupt, to disarm literally and figurative­ly,” writes Judy Annear in the text accompanyi­ng Lillian’s new series ‘Soft Demand’, which includes Sleeping stones (left). Until November 28. thecommerc­

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