2013. Corrugated iron, branches, sandbags, earth, plywood, hessian, black fabric,woollen coats, bolts, wire, string. 515 x 260 x 260 cm.
Three sculptural installations – claustrophobic, defensive spaces reminiscent of military bunkers – were built in the gallery, and individuals and groups in Harlow invited to make use of them. Here is an opportunity to examine the meaning of selfhood and togetherness, developing the idea of a community art gallery as a place of meeting and action.
2013. Corrugated iron, branches, sandbags, earth, plywood, hessian, black fabric,woollen coats, bolts, wire, string. 515 x 260 x 260 cm.
Three sculptural installations – claustrophobic, defensive spaces reminiscent of military bunkers – have been built in the gallery, and individuals and groups in Harlow are invited to make use of them. Here is an opportunity to examine the meaning of selfhood and togetherness, developing the idea of a community art gallery as a place of meeting and action.
2013. Wood, plasterboard, plaster, carpet tiles, doors, hinges, handles, locks, security cameras, paint, nails, screws, electrical conduit, switches, sockets, light fixtures, table, chairs, intercom system. 610 x 510 x 260 cm.
Three sculptural installations – claustrophobic, defensive spaces reminiscent of military bunkers – have been built in the gallery, and individuals and groups in Harlow are invited to make use of them. Here is an opportunity to examine the meaning of selfhood and togetherness, developing the idea of a community art gallery as a place of meeting and action.
Solo exhibition
Gibberd Gallery
19 June-23 August 2013
The Watergardens, Harlow, Essex
Three sculptural installations – claustrophobic, defensive spaces reminiscent of military bunkers – have been built in the gallery, and individuals and groups in Harlow are invited to make use of them. Here is an opportunity to examine the meaning of selfhood and togetherness, developing the idea of a community art gallery as a place of meeting and action.
Image: Bunkers 1,2 & 3
Group exhibition
University of Leicester Botanic Garden
Curated by Almuth Tebbenhoff
July to October 2012
Image: ‘Everything Is Under Control’
One of two installations at ‘Interesting Times’
2012. Garden shed, fluorescent paint, barrier tape & fencing. 250 x 1000 x 1000 cm.
“Everything is under control. There is nothing to see. For your safety and security do not stop to take photographs. Please keep moving. There is no cause for concern. The appropriate authorities have been informed.”
2011. Carrara marble. 80 x 65 x 65 cm.
Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
2011. Carrara marble. 80 x 65 x 65 cm.
Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
2011. Carrara marble. 80 x 65 x 65 cm.
Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
2010. Corten steel. 320 x 320 x 400 cm.
Interesting properties emerge at the interface where one kind of order meets another. You could call it algorithmic form, a cognitive hack of the eye and brain to exploit our figurative bias, akin to the mathematical simulation involved in image compression.
Acquired by Newhall Projects for the Harlow Art Trust collection, and permanently installed in the new park at the centre of Newhall. To visit, drive to the end of The Chase, CM17 9JA. A map of Harlow’s extensive sculpture collection can be downloaded from here or here.
2010. Corten steel. 320 x 320 x 400 cm.
Interesting properties emerge at the interface where one kind of order meets another. You could call it algorithmic form, a cognitive hack of the eye and brain to exploit our figurative bias, akin to the mathematical simulation involved in image compression.
Acquired by Newhall Projects for the Harlow Art Trust collection, and permanently installed in the new park at the centre of Newhall. To visit, drive to the end of The Chase, CM17 9JA. A map of Harlow’s extensive sculpture collection can be downloaded from here or here.
2010. Corten steel. 320 x 320 x 400 cm.
Interesting properties emerge at the interface where one kind of order meets another. You could call it algorithmic form, a cognitive hack of the eye and brain to exploit our figurative bias, akin to the mathematical simulation involved in image compression.
Acquired by Newhall Projects for the Harlow Art Trust collection, and permanently installed in the new park at the centre of Newhall. To visit, drive to the end of The Chase, CM17 9JA. A map of Harlow’s extensive sculpture collection can be downloaded from here or here.
