Will you visit me in the studio just once after hours?  

No one would know. 

 An artist is invited to take up residency in a gallery filled with historical paintings. They are meticulously crafted, maintained, and revered. She begins to make an audit of the paintings, outlining the depictions of violence, subjugation and physical tension on public display. Eleven arrows in a torso, someone’s hair cut as they sleep, a man nailed to a cross. Horses, decapitations, memorable lobsters. 

Written in sparse, urgent fragments that invite closer reading, The Touch Report, turns the reader’s gaze into the dark, to question our notions of ‘civilisation’. 

Want to see something real, says the artist as she creeps through the darkness, keeping a log.

Katrina Palmer was commissioned by the National Gallery, London, as part of the 2024 National Gallery Artist in Residence Programme in collaboration with the Contemporary Art Society, generously supported by Anna Yang and Joseph Schull. This book is published as a result of research made during this residency.

Among Palmer’s solo exhibitions are What’s Already Going On (Mead Gallery 2023); Hello (England’s Creative Coast 2021); The Coffin Jump (Yorkshire Sculpture Park 14-18NOW, 2018); The Necropolitan Line (Henry Moore Institute 2015); End Matter (Artangel, BBC Radio 4, Book Works 2015). Her publications include Black Slit, The Fabricator’s Tale, The Dark Object (Book Works, 2023, 2014, 2010), and contributions to Documents of Contemporary Art, (Whitechapel/MIT 2013 2021). Palmer was a recipient of the Paul Hamlyn Award for Artists (2014). 

Published December 2024