Nicole Wermers
Tails & Fainters
Museum St | 43 Museum St, London, WC1A 1LY
22 May – 28 June 2025
For over two decades, Nicole Wermers has explored the physical and structural hierarchies of urban space in relation to the bodies – both present and absent – subjected by them, drawing on references from art history and vernacular culture. Tails & Fainters, her sixth solo exhibition with Herald St, presents two new, characteristically evocative and slyly humorous bodies of work that challenge the classical – and often male-associated – vertical trajectory of sculpture.
Combining seemingly unconnected items, the exhibition’s title nods to historical names of British public houses and their street signs, which paired strong, recognisable images in times of high illiteracy. Tails & Fainters also refers to the two distinct bodies of work in the exhibition: Domestic Tails, hand-stitched faux-fur tails coiled around ready-made hose reels and cable drums; and Fainters, a series of sculptures made from reinforced air-dry clay, depicting female figures in voluptuous dresses, captured mid-faint as they descend toward the floor. The installation of both bodies of work responds to the quasi-domestic and commercial architecture and interior of Herald St’s Bloomsbury location – a former antiquities shop on Museum Street moments from the British Museum.
Domestic Tail (Black/White Tip)
2025
Handsewn faux fur tail, polystyrene filling, thread, hose reel
Dimensions variable (17m tail length)
HS21-NW8990S
Scattered across the gallery’s two contrasting floor coverings – parquet at the front and marble tiling at the back – uncanny tails unwind from hose reels. Some are tightly coiled and orderly as if ready for transport, others stretch out across the room over the threshold, where the different floor surfaces meet. Their different modes of display and varying lengths (in some cases up to 25 meters) suggest adaptability to past, present and future spaces.
Wermers has been producing her Domestic Tails for the past three years, initially in response to a planned exhibition in a late 18th century palais in Moscow, where rooms once designated for various social classes – aristocracy, servants, and guests – had been converted to exhibition spaces.The building’s spatial hierarchies, reflective of noble family life of the era, inspired these works. Wermers observed how certain guests were permitted access to spaces off-limits to others. Typically, beyond the central enfilade, the further guests were granted access along the successive rooms to more intimate quarters, including the bedroom at the back of the enfilade, was a testament to their social status. Of course, certain bodies, particularly pets (and, perhaps, artists), can traverse class boundaries with greater ease. ‘I wanted to make sculptures that occupy more than one room simultaneously, alluding to domestic infrastructures such as electricity and water,’ Wermers explains of these works, which one could imagine extending through doorways, up and down staircases, and perhaps escaping outdoors.
All of the tails have been laboriously hand-sewn in the artist’s studio. In contrast, the reels are commercially available dispensers (an object category Wermers previously explored, for instance in her Rockdispenser (2010) or Vertical Awnings series (2016)). It almost appears one could pull out a quantity of tail and purchase a ream of it. Ruminating on issues of labour and value, Wermers likens her new works to being a ‘bit like sculpture per meter,’ and, as such, the Domestic Tails are distinguished by their colours and potential lengths: Domestic Tail (Black / White Tip, 17 metres); and Domestic Tail (Ginger, 20 metres), for instance.
Fainter (Fragonard 2)
2025
Reinforced air dry clay, metal armature
27 x 47 x 32 cm / 10.6 x 18.5 x 12.6 in
HS21-NW9057S