In Face Down in a Ditch, Beth Collar activates the GUTS dispositif through a single object: a pair of legs suspended from the ceiling. Hovering high above the viewer, the sculpture amplifies the verticality of the space, lending it the quiet solemnity of a chapel. It recalls the suspended body as a recurring motif in religious imagery while resisting any fixed narrative.

The exhibition’s title draws on a phrase repeated by the artist’s mother—”for all I know you might’ve been face down in a ditch somewhere”—an expression of inherited anxiety passed down through generations.

Carved from limewood and combined with mistletoe and found fixings, the legs evoke vulnerability, absence, and the possibility of unseen violence. Rather than illustrating a specific event, the work gives form to the persistence of familial fears, bodily memory, and the strange intimacy of everyday expressions that linger long after they are spoken.