Description
The Neighbour (2026), is Troy Emery at his most unmistakable. A four-legged creature is built up from a polyurethane form and completely obscured beneath long fringing of black glass beads, with baroque white pearls scattered across its body.
Emery has described this way of working as “fake taxidermy”: a new skin given to an animal that was never there, sitting somewhere between reality and fantasy. Where his creatures are often lurid, here the palette is darker and more nocturnal, the pearls reading as markings, or dew, or something more ceremonial. Faceless and heavily adorned, The Neighbour holds the familiar tension in Emery's practice, between fine art and craft, natural history and the domestic, the decorative object and the animal as outsider.
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