Sabrina Chou at Coleman Project Space / London

Artist(s): Sabrina Chou
Art space: Coleman Project Space
Address: 94 Webster Rd, SE16 4DF, London
Duration: 18/09/2026 - 18/10/2026
Credits: Photos courtesy the artist
Muster Point, 2026, Hand-carved stone pine, steel panel clamp, 32.5 x 8.5 x 11.3 cm.
Muster Point, 2026
Placebo Placebo Effect, 2026, exhibition view
Correlation, 2026, Hand-carved stone pine, chrome clothing rail, 22.2 x 240.5 x 39.5 cm.
Correlation, 2026, detail
Placebo Placebo Effect, 2026, exhibition view
Procedural, 2026, Hand-carved stone pine, two-way mirror glass, flax butcher twine, suction cup hook, pine timber, dimensions variable (this instance 300 x 119 x 206 cm).
Procedural, 2026, detail
Procedural, 2026, detail
Procedural, 2026, detail
Procedural, 2026, detail
Procedural, 2026, detail
Placebo Placebo Effect, 2026, exhibition view
Placebo Placebo Effect, 2026, exhibition view
Devotion, 2026, Hand-carved stone pine, anti-static layflat tubing 3kg roll, 70 x 29 x 8 cm.
Devotion, 2026, detail
Placebo Placebo Effect, 2026, exhibition view
Placebo Placebo Effect, 2026, exhibition view
Stop Stopper (part 1), 2026, Hand-carved stone pine, PVC half-round gutter, PVC half-round stop end, fascia brackets, gutter angle, Two parts, part 1: 10 x 11 x 7.5 cm.
Placebo Placebo Effect, 2026, exhibition view
Diverted Sentiments, 2026, Hand-carved stone pine, handwoven cotton-linen textile (951 cm), steel ratchet, polyurethane foam, steel pulley, 210 x 82 x 56 cm.
Diverted Sentiments, 2026, detail
Diverted Sentiments, 2026, detail
Diverted Sentiments, 2026, detail
Diverted Sentiments, 2026, detail
Placebo Placebo Effect, 2026, exhibition view
Stop Stopper (part 2), 2026, Hand-carved stone pine, PVC half-round gutter, PVC half-round stop end, fascia brackets, gutter angle, Two parts, part 2: dimensions variable (this instance: 10 x 11 x 700 cm).
Stop Stopper (part 2), 2026, detail
Stop Stopper (part 2), 2026, detail

With Placebo Placebo Effect, Sabrina Chou takes the notion of the double, substitute, or sham to embody alternate approaches to representation and reproduction. In her world of determinedly handmade reproduction, these sculptures appear to function in a parallel place, between forms of recognition and displacement, only loosely connected to the stand-in. They are also “deferrals of a demand to appear,” Chou explains – decoys that can lure you aside, or “antidotes to the fallacy of seeing-as-believing.” Considering the placebo as a sculptural strategy, the works propose to remove a body from its typical use or labour value and place it, quite literally, beside itself.

 

The sausage has become a recurring motif in Chou’s practice: a commonplace food form made strange through its associations with appetite, mass production, and comic excess. Its familiarity offers a way to approach questions of embodiment and collective life indirectly, rather than through literal figuration. Carved and cast, these works often sit amongst a wealth of everyday construction and domestic paraphernalia, exploring how bodies – whether the corporeal body, the everyday object, or the work of art itself – are assembled, separated, and made legible through material processes. As individual components within a carefully constructed system, the shifts between wood, flesh, and bronze set up a wider enquiry into instability, substitution, and the social life of objects.

 

The exhibition presents a new series of hand-carved wooden sausages alongside their reproductions, as close to identical as can be achieved by means of chiselling, whittling, and sanding. The painstaking attempt to reproduce each form also introduces a tension between handmade labour and the logic of industrial repetition: an effort to produce sameness that can never quite escape difference. Hosted in sculptural scenarios that highlight their doubling through different states of dis-/re-placement, each sculpture speaks to its own alternative, a suggestion of an(other) body, a defective teleportation that dislocates self from self. Placebo Placebo Effect offers an imprecise doubling in which the distinction between original and substitute remains unsettled – somewhere between the real thing and its side effect.

 

 

Supported by Research at Central Saint Martins, UAL

Coleman Project Space is kindly supported by the Henocq Law Trust