Sarah Hardacre’s paper collage and silk screen prints present images of Modernist skylines taken from Local History Archives against women cut from second hand gentlemen’s magazines. While the work can be read with a feminist critique; the sensuous female body overlaying the phallic like uprising of modern architecture, it is largely a preoccupation with Modernism as a legacy of the welfare state and notions of privacy. The tower blocks reference the effects of urban regeneration and housing redevelopment schemes in constructing how public and private spaces are occupied and how structures designed to induce collectivism have instead left a legacy of alienation, serving to marginalise those, in particular women, who lived there. While the development of post-war housing on a mass scale seemed doomed to disappoint from the start due to it’s attachment to utopian thinking, the women presented in the prints and collages draw strength from fragilities and bring promise for change on a grander scale. Within her work, Hardacre creates a private playground that cannot be controlled by the state (via).