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As a raw material that, while present, cannot be seen, neon is appropriate to Creed’s work as a whole for it entertains, as one critic has put it, a ‘paradoxical desire to produce both something and nothing’ (Matthew Higgs, ‘Martin Creed 20 Questions’, in Creed 2010, p.xxvii), as seen in his inflated balloon installations, which fill rooms with air.

Martin Creed – Everything is going to be alright (Tate)

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