At an absinthe bar in London, artist Edward Skeletrix conversed with Cassidy George about “getting cancelled,” non-duality, and his new photo album, Body of Work. At an absinthe bar inside the Viktor Wynd Museum of Curiosities in London, Edward King Bass IV ordered the only two things on the menu that were not absinthe: a shot of vodka and a grilled cheese. I watched in fascination as he downed the lukewarm, bottom-shelf liquor without flinching, before proceeding to eat his greasy, overflowing sandwich while wearing a single red glove. We sat on velvet seats in a parlor bar surrounded by glass cabinets filled with a mixture of worthless tchotchkes and historical artifacts, which displayed, for example, a plastic Peppa Pig toy covered in spiderwebs next to the skull of an extinct animal. It felt like the most appropriate place to speak to Bass about his work, which also grapples with our relationship to the off-putting, unsettling, horrifying, and grotesque. Edward Skeletrix

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