More accurately, her knittings are skins of buildings—and Streyl makes much of this distinction. Sometimes they are exhibited stretched over armatures; others they are strung, billowy and strange, over lines as though they were so much bulky handwash left out to dry. Both versions manifest a certain weightless quality—the sagging hides because you can almost hear the hissing of air that would accompany their deflating; the structured ones because Streyl suspends them several inches off the ground when exhibited, so they hover like impossible dirigibles.
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