Artists

Click on images to enlarge.

Alex Delfanne

Familoe and Farmiloe. 2004.

Anna Boggon

If I could see through you, 2004

An old white wardrobe has been converted into a chambered periscope. Within there are glass rooms, corridors, miniature architectural features and a view of the opposing building creating a direct visual commentary of the space.

Two Stationary Mobiles, 2004

A pair of chandeliers or stationary mobiles, made from balls of sellotape, rulers, pen cases, resin casts of sellotape and other transparent bits, are suspended from the ceiling, transporting the mundane to a curiosity.

John Deller

'Untitled (Gotham City)’ 2004

'To repeat and create, a tripartite structure of changing viewpoints.' John has drawn on layers of windowed glass to create static images that when viewed at different points describe movement.

Simon Day

Silverlining, 2004

'Even on the most grey boring days, I see something, however small that lifts me above it all.' Simon uses a found object - an office chair, a tube and some light to create an mysterious light scanning installation.

Nicola Hampson

Memeoto Mori. 2004

Nicola's work takes inspiration from Peter Ackroyd's book 'The Biography of London' where he describes the origin of the city as a sea bed upon which layers of time and people have left their indelible mark. A fictional found object is presented as a museum artifact or collectors item.

Karen Mirza and Brad Butler

‘Icon Index Symbol’

'The object of this installation is not the ‘void’ but what is around it'. The artists' intention is to draw the visitor's away from the object and into the space that it inhabits, displacing the conventions of art and space.

Liane Lang

Zoe, 2004

'Zoe' is a leather zoetrope, mounted on a vintage record player. This machine seduces the viewer into sharing an intimate visual scene, which sets up a suggestive narrative with its surroundings.

Simon Morse

Magicians Must Become Glazier-Plumbers!, 2004

A fictional group of Marxist magicians aim to bring about the fall of capitalism by fudging a vanishing act using the building's abandoned contents. The work examines the life-span of use-value, how certain items or ideas go into hibernation, and how and why they may be dusted off years later

William Low

The ghost of work-audio series, 2004

William creates an audio symphony using the architectural geometry of the Farmiloe building as a formula. To add depth to the piece, a second layer of sound is composed using an accounts ledger rescued from the Farmiloes business records.

Nick Lumb

A pair of abandoned trainers are slowly moving. Their animation suggests the history of a former wearer, possibly of violence or intoxication.

Claire Rollet

Still of an Unrecorded Event, 2004.

A corridor and hidden vent become a stage for the re-enactment of notorious stories synonymous with the east end of London.

Rosanna Guy Greaves

Lovelace & Knight, 2004

Phillippe Close

Creatures of the Night, 2003

Phillipe has remixed a best-forgotten soft rock ballad into a hypnotic chant instilling irrational fears to the viewer. The sound is placed within a woodland environment adding tension through association with childhood stories.

Elizabeth McAlpine

‘The Campanile, St Marks Sq, Venice, 95m of Super 8 Film’

The postcard size projection describes this architectural structure as 2D image. The actual length of super 8 film describes the Campanile physically. The presence of the film in the space literally makes an attempt to fit one building into another.

'Even on the most grey boring days, I see something, however small that lifts me above it all.'
Simon uses a found object - an office chair, a tube and some light to create an mysterious light scanning installation.

'The object of this installation is not the ‘void’ but what is around it'.
The artists' intention is to draw the visitor's away from the object and into the space that it inhabits, displacing the conventions of art and space.

Introduction / The artists / History 1 / 2 / 3

Des Hughes


	Introduction / The artists / History 1 / 2 / 3 Click on images to enlarge.



	Alex Delfanne Familoe and Farmiloe. 2004. At the turn of the century, the photograph replaced paint as the preferred medium for making historical records. Through a portrait of the present director of the Farmiloe company, Alex explores the historical development of this family run business in context with the familiar conventions of the 'business portrait'.



	Anna Boggon If I could see through you, 2004 An old white wardrobe has been converted into a chambered periscope. Within there are glass rooms, corridors, miniature architectural features and a view of the opposing building creating a direct visual commentary of the space.



	Des Hughes Two Stationary Mobiles, 2004 A pair of chandeliers or stationary mobiles, made from balls of sellotape, rulers, pen cases, resin casts of sellotape and other transparent bits, are suspended from the ceiling, transporting the mundane to a curiosity.



	John Deller 'Untitled (Gotham City)’ 2004 'To repeat and create, a tripartite structure of changing viewpoints.' John has drawn on layers of windowed glass to create static images that when viewed at different points describe movement.



	Simon Day Silverlining, 2004 'Even on the most grey boring days, I see something, however small that lifts me above it all.' Simon uses a found object - an office chair, a tube and some light to create an mysterious light scanning installation.



	Nicola Hampson Memeoto Mori. 2004 Nicola's work takes inspiration from Peter Ackroyd's book 'The Biography of London' where he describes the origin of the city as a sea bed upon which layers of time and people have left their indelible mark. A fictional found object is presented as a museum artifact or collectors item.



	Karen Mirza and Brad Butler ‘Icon Index Symbol’ 'The object of this installation is not the ‘void’ but what is around it'. The artists' intention is to draw the visitor's away from the object and into the space that it inhabits, displacing the conventions of art and space.



	Liane Lang Zoe, 2004 'Zoe' is a leather zoetrope, mounted on a vintage record player. This machine seduces the viewer into sharing an intimate visual scene, which sets up a suggestive narrative with its surroundings.



	Simon Morse Magicians Must Become Glazier-Plumbers!, 2004 A fictional group of Marxist magicians aim to bring about the fall of capitalism by fudging a vanishing act using the building's abandoned contents. The work examines the life-span of use-value, how certain items or ideas go into hibernation, and how and why they may be dusted off years later



	William Low The ghost of work-audio series, 2004 William creates an audio symphony using the architectural geometry of the Farmiloe building as a formula. To add depth to the piece, a second layer of sound is composed using an accounts ledger rescued from the Farmiloes business records.



	Nick Lumb A pair of abandoned trainers are slowly moving. Their animation suggests the history of a former wearer, possibly of violence or intoxication.



	Claire Rollet Still of an Unrecorded Event, 2004. A corridor and hidden vent become a stage for the re-enactment of notorious stories synonymous with the east end of London.



	Rosanna Guy Greaves Lovelace & Knight, 2004 Rosanna Guy Greaves’ ‘Lovelace & Knight’ take the names of two former Farmiloes employees to work around Gore Vidals suggestion that once a character leaves or dies in one narrative they are free to enter another. Through documentation and artifacts, Rosie has created fictional characters that echo past employees of the Farmiloe business.



	Phillippe Close Creatures of the Night, 2003 Phillipe has remixed a best-forgotten soft rock ballad into a hypnotic chant instilling irrational fears to the viewer. The sound is placed within a woodland environment adding tension through association with childhood stories.



	Elizabeth McAlpine ‘The Campanile, St Marks Sq, Venice, 95m of Super 8 Film’ The postcard size projection describes this architectural structure as 2D image. The actual length of super 8 film describes the Campanile physically. The presence of the film in the space literally makes an attempt to fit one building into another.

Exhibitions