Hayley Tompkins’ intimate abstractions—including painted wood constructions, works on paper, and film—form fragmented narratives and compel a haptic experience with the work. Her sister Sue Tompkins, an artist and musician, also based in Glasgow, relies on the spoken and written word in her performances and text-based works on paper. Each artist makes new work for The Front Room. Hayley’s “Metabuilts” are domestic and humble objects, made with leftover materials such as fragments of wood, clay, peel, and torn photographs. As she describes them, they “are somewhere between dream, reconstruction and product.” Using scenes from her daily life—edits from magazines, the view from her apartment window, a Glasgow street—she re-enacts these fragmented memories with renewed vitality. On the opposite wall, Sue’s suite of sixteen works on paper combines typewritten text fragments and repeated words. Evoking a complex poetry, her installation is mirrored by a recent sound piece. For both Hayley and Sue, this exhibition, titled Salute to the Dataday, offers an intersection of their disparate practices, where we are asked to reflect on the intimacy and power of abstracted form.