Rebecca Ackroyd’s second solo exhibition at Peres Projects, 100mph, delves deeper into her personal dream psyche. Acrkoyd establishes her narrative of random association-feminine forms and sanitized drain covers sit next to one another in discord but interact, poetically, sinisterly, to create a sensual and unsettling landscape. A large spider spins a web around Ackroyd’s sleeping head as she “[sets] together conflicting momentums of extended and suspended time – the mind racing but going nowhere”