Even while we understand they’re inanimate objects, when mutated, manipulated, or uncannily accurate mannequins have tremendous power to attract and repel.
A free newspaper is thrust into my midriff. Most people simply walk past the young man distributing them. He is hardly captivating, wearing headphones, comatose in a faraway land, going through the routine. Above the announcements Waterloo Station is a cold place at the best of times. I take the paper and without looking I make my way to the bottom of the steps. I glance at it. Noticing copies are bundled on the adjacent wall, burgeoning out of refuge bins, littering the immediate pathways.
The New Musical Express (NME) was once an important and valued commodity. In fact, alongside John Peel’s radio programme, Sounds and Melody Maker, the NME was a crucial source of information on band tours, interviews, the latest record releases. I make my way to Jubilee Gardens, under the shadow of the London Eye, sit and flick through its pages. It takes about 2 minutes to glance through the photographs with bubble quotes and advertisements. The images are shiny, precise and sterile. I am old and everything is well and truly in its place.