Six relative strangers have been invited to install art works in a house
in Bow. Set in Tredegar Square, one of London's finest intact Georgian
squares, this townhouse has recently gone through extensive renovation.
The historic façade and 19th century fresco now mix with contemporary
architecture and interior design.
Exploring the relationships between public and private, interior and
exterior, the six artists have installed work throughout the house, some
choosing to work with the existing décor, others rubbing up against it.
Behind the front door, Sub Rosa (out of public view) intrudes on the
living space of a family. These clandestine artists leave personal marks
on an intimate setting, much like the child who sneaks into Mother's
best room wearing muddy shoes.
Kerry Duggan's small and subtle interventions reverberate against
the personal histories associated with this private abode.
The collaborative art group Sparks brings a film shot in New York
produced retrospectively after having created the soundtrack first,
inverting the usual sequence of production.
Michael Gough's watercolour paintings infuse the office blocks he
depicts with a fragile, melancholy, retrospective character, subverting
the structural and financial might they represent.
Paul Hosking's tubular sculpture explodes from its temporary setting,
the steel form that makes reference to an Eames coat rack resounds
against the striking backdrop of the immediate environ.
Roger Kelly's linear pencil drawings reduce depictions of baroque
interiors to complicated sequences of visual information, disguising their
origins and treading the line between figuration and abstraction.
Ben Woodeson's work examines the role of basic technology through
crude experimentation. Tapping magnets and microphones work
together to challenge the relationship between the private and public
The diverse mix of media and methodology across this group of six
allows an exploration of individual practice within a domestic space
while simultaneously testing the status of the art object within a
from Victoria Miro Warehouse, 2003.
Compasses and 15 Electro-magnets.
15 Electro-magnets attempted to turn the galleries magnetic field through 90 degrees. Compasses were given out as a means of both examining the work and attempting to navigate the gallery.