This exhibition, Phantom Tigers and Parallel Papers, takes paper back from that history. It reclaims it as a generative material—fragile but ungovernable, resistant to classification. Here, paper is not background but protagonist; not support, but substance. The artists gathered in this show—Susana Blasco, Andrea Burgay, Jack Felice, Alma Haser, Paul Henderson, Miko Hornborg, and Mark Wagner—approach collage not as a format but as a political and poetic gesture. Their practices unfold across media, geographies, and sensibilities, yet they share a refusal of passivity. Paper is torn, layered, burned, folded, cut, and reassembled—not to conceal violence, but to make it visible. Each cut becomes a question: What histories are we made of? What fragments do we choose to keep? What happens when we rearrange them? In their hands, collage becomes liberation—a way to reprogram matter, image, and memory. Susana Blasco geometrizes nostalgia, using paper like thread on a loom. Andrea Burgay performs alchemy with discarded ephemera, turning loss into fertile terrain. Jack Felice silences source images beneath monochrome strata, exposing the tension between presence and erasure. Alma Haser uses paper as an element that creates shadows and echoes on her own skin and body, playing with equivocation and trompe l'oeil. Paul Henderson composes surreal geographies where presences are defined by their absence. Miko Hornborg reconfigures the language of collage within digital culture, layering abstract physical cuts to expose the fragile boundary between originality and replication. Mark Wagner, slicing the icon of currency, dissects capitalism itself, reimagining value as a creative act.

Together, they embody what The Weird Show has always championed: collage as a mindset—an ethics of recomposition that resists homogenization. Beyond paper lies a space of possibility where every fragment speaks, and where creation is inseparable from care, critique, and play.

This participation demands something from us. It asks us to bring our experiences, our questions, our uncertainties to bear on the work. We must be willing to confront what we don't understand, and to sit with the fundamental question: What is this? Phantom Tigers & Parallel Papers makes this question visible. The title itself is an invitation—or perhaps a provocation. It gestures toward something that refuses easy categorization, that moves through unmarked territories rather than well-traveled routes.  Phantoms. Tigers. Papers. Parallel realities. These fragments don't resolve into clarity; they open onto possibilities. I've been thinking about these elements—about how they connect, how they resist connection. The title emerged from this thinking, from a year of conversations and encounters, from following certain intuitions without quite knowing where they lead. It's deliberately open, deliberately playful.

The question it poses—What is this?—is not rhetorical. It's genuine. 
And it's genuinely the beginning of the conversation that I hope this exhibition might spark between the work, the artists, and you.