In 6 Seated Poses, Lene Vollhardt assumes and departs from six positions on Lena Marie Emrich's Gossip Chair; a sculptural tête-à-tête in natural acrylic stone and chrome, arranged as a lying figure eight. Two seats face each other from opposite directions: the historical form of the courting bench, designed in the nineteenth century to produce intimacy while architecturally regulating it. Emrich's version, stripped to formalist essentials, retains the structure's original paradox. Closeness governed by separation, connection built on the impossibility of full contact.

Vollhardt occupies the sculpture not as a sitter but as a body in negotiation with it. Across six poses and the transitions between them, which are as much the work as the poses themselves; she climbs, stretches, reclines, addresses, and withdraws. The performance oscillates between command and tenderness, between a queen holding court and a body finding its way into comfort on a surface not designed for comfort. In the small space of the Salon, the bench takes up nearly the entire room; the performer takes up the rest. Some audience members described feeling addressed, even cornered. Others described silence. And then the noise inside it: the sound of fabric straining against movement, of a Vivienne Westwood pencil skirt and Gucci leather jacket being stretched and tested by a body that refuses to sit still.