Kaltblut Magazine review

"(...) And there’s another presence across the floor that seems to beckon you closer. Like futuristic power forks, two strikingly sharp steel sculptures by Konrad Wyrebek invite you to touch – if you dare. At once fetishistic and religious, alien and occult, closer inspection of Wyrebek’s YYBKSLAVE reveals strips of gaffer tape hanging from the metal spears."

"(...) Next you notice indentations in the strip of fabric beneath them and you start to think ‘people were here.’ But were these humans praying, or were they hostages bound to the metal?"

"(...) A short video fIlmed at the Flesh Reality private view offers some explanation as, awkwardly observed by a teeming crowd, two naked bodies are tied by tape to the sculptures and then, at the end of the evening, released."

"(...) There is the uneasy sense that the figures are simultaneously worshipping and enslaved, passively submitting to their own narcissistic fantasy. The sculptures then have two lives – a before and after. The residue of the piece’s human presence is rendered even more poignant when the documentation is considered too, with its suggestion that you have unearthed a relic from tomorrow."

"(...) It draws your eye back to Sarah Lucas and her intestinal snake in a skin of flesh tone nylon – a malformed piece of inside out life. And beyond this are two powerful paintings by Konrad Wyrebek, Triumverate I and II, that also twist the human form – here with brush strokes that are brilliantly free; alternately washed out and strident. The effect is a poised orgy of monochrome flesh that is somehow withdrawn and undecided – tainted with a bleak futility that no shower will ever shift." by Gerard Woods