Being part of A Few More Friends: Something Stolen at Testbed1

Having fun, being playful and connecting with other creative people and laughing are all things that improve our own creative abilities. We know this but why then isn’t it higher up our list of priorities more of the time? Mmm I suppose the serious sensible things in life do have to take priority every now and then!

I was delighted to be invited to take part in Will Alsop’s latest show at Testbed1 last week; the title was A Few More Friends and the theme was Something Stolen.

Everyone who was there had worked with or was good friends with Will while others, like myself, have brushed shoulders with him much more recently. (Back in January of this year I helped to create one of his 3D paintings at The Public in West Bromwich).

A Few More Friends: Something Stolen was a one night only show and was the perfect combination of organisation and laid-backness. George Wade had sent out various exhibition plans in the run up to the show and I set up Hyacinth working to one of those plans but it was quite late into the evening before I realised that there was an even more recent plan; one that had only been finalised that day! So I may have inadvertently pinched someone else's spot on the plan but luckily everyone was very good spirited.

Model for Will Alsop's The Neuron Pod-science education centre for Queen Mary, University of London (due to be completed end 2013)

There was a mix of architects, designers, creative agencies and artists taking part. Suffice to say that everyone was creative and we were all there to have fun, connect with others and show off a little of our own creativity.

The more people that I chatted during the evening the more that I realised that Will Alsop is a magnet for mavericks and free thinkers: we had even more in common with each other than at usual art events or private views.

At first I was a little worried that Hyacinth might be interpreted as being straight, just pretty and traditional. Her body is a biscuit tin (a 1952 Carrs biscuit tin) and her legs are classic cabriole furniture legs, the kind usually associated with hand embroidered tapestry footstools. But her engaging personality shone through and she got a lot of positive interest over the evening. 

My friend Sydney Levinson was all too pleased to get up close and personal with Hyacinth's underbelly of scratchy synthetic grass.

There are often intimate details in my Frillip Moolog beings; things that people only notice after spending a bit of time with them. 

It is impossible to speak about all of the work on show and I don’t have photos of some of my favourite pieces either.

For example I especially loved Steve Bunn’s Shed and Aldi sculptures but I didn’t get a photo of either of these so here’s an out of focus photo of Steve himself! It was great to chat to him about the narratives that he weaves within his work and also good to spot the other half of another of his sculptures Remote Control (hidden in the beams above people’s heads.)

Steve Bunn with Bryony Simcox and Dom Simcox

Feix and Merlin’s installation of lit candles was pure genius. The candles spelled out Steal Me however each candle had Buy Be printed onto its surface. 

In their own words, “We stand for delight and enjoyment; truth and mystery; honesty and deception; texture, colour, light, humour, wit.” 

Their installation, Steal Me Buy Me Blow, was perfect and of course at the end of the night most of the candles had been stolen!

Earlier in the day we visited Designersblock’s London Design week show at The Southbank Centre. There we met and chatted to Flora McLean of House of Flora -who was also part of Something Stolen that evening.  

Here my son Dom models a House of Flora black felt cat hat at Designersblock and the neighbouring image shows part of Flora's cat burglar crime scene installation back at Testbed1 for Something Stolen.

Flora also teaches at the Architectural Association at RCA so it is fitting that she should design and wear a Tatlin’s Tower inspired headpiece. But of course no excuse required to wear an iconic peace of wearable art?

Meeting and chatting to Iain Carson and Paul Stallan at the end of the evening was brilliant. They were both overflowing with energy and enthusiasm, and they were very funny too! 

A very animated conversation; Bryony Simcox, Iain Carson and Paul Stallan

Their cheeky take on the Stolen theme was to gain access to a skip full of a day’s model-making waste from a very well known architects practice whose offices are very very close to Testbed1. 
With that exciting load of ‘scrap’ they played and had a huge amount of fun. 
Their construction/concoction called Tunnel Vision was delightful, exciting, fun, cheeky and jam packed with beautiful little moments that were worth photographing. I could go on... but I won’t!

Even an old broom was included!

And as I love stories and stories do have beginnings it was great to see Graham Peet and his team of animation and games design apprentices at Testbed1. Graham is the Exhibitions Manager at The Public in West Bromwich. The Public is one of Will Alsop’s designs and it was Graham who first invited me to exhibit some of my Frillip Moolog beings at The Public back in summer 2011. 

At the entrance to Testbed1 several screens showed the virtual version of The Public which Creative Apprentices designed using Little Big Planet 

Stories have beginnings but no ends they just go on and on and hopefully they never become predictable; surprises and enjoyable twists in a tale are good. Roll on my next exciting adventure!

Will Alsop's Box of Delights 3D Painting and the Healing Power of The Rag Market

Great to see these lit up mini 'street creatures' around The Public, the wondrous Will Alsop designed building in West Bromwich. 

A few weeks ago I had the brilliant experience of being part of the team which created Will Alsop’s Box Of Delights 3D painting at The Public in West Bromwich.

I was already very familiar with The Public as I exhibited some of my Frillip Moolog beings in the gallery there last year. I have spent hours in this exciting, bewildering, enchanting and also at times overwhelming building. 

A winter afternoon is so much more fun with some cerise lighting around the windows!

It is a place that you have to go to, to spend time in to absorb, and just to experience. It does defy description. 

The technicians hanging some of the huge Will Alsop paintings within the building.

Last year Exhibitions Manager Graham Peet first told me that Will Alsop has used the expression, 'A Box of Delights' to describe the building itself.

So it was no surprise to discover that the 3D painting that we were creating was also to be called a Box of Delights.

Creating the piece was a bit of a voyage of discovery; was I part of a team creating to Will’s direction, or was I one of several participants making a piece of community art? It was definitely a case of, “all will become clear in due course”. 

People came and went during the period of making. My son Dominic and I were two of the few who were there for all four days. On day one George Wade a senior architect working with Will Alsop at ALL Design led us, then on day two we had a smaller team and we mostly painted the large sheets of heavy weight watercolor paper. Will was there in person on days three and four and it was fantastic to see how he worked with what we had made and directed the creation of this piece of 3D art. 

It was a hive of activity in the gallery space.

Despite seeming very laid back we very definitely making a Will Alsop creation. “More chaos” was something that he kept asking for. More black fragments on the walls, and more large black sold shapes to intersperse throughout the other more colourful hanging elements. He wanted more of everything! 

Here Will explains it all to a visiting journalist. 

He was fun to be with, extremely relaxing but at the same time chivvying us on in a determined and masterful way. I must admit I did find it odd that he only added. He would ask for more but didn’t seem to say, "get rid of that". George had explained at the beginning that it was unlikely that Will would remove any of the elements but was much more likely to ask us to add more.

The projection of images and patterns from Will's sketchbook onto the 'Box of Delights' painting really added a lot of drama. 

George had explained at the beginning of the project that Will is interested in ‘pollution’ that we encounter in our visual lives and what we were making was a 3D painting which represented this ‘pollution’.

To add even more chaos and a disorienting feel to the experience there is an accompanying audio soundtrack which was created by Joss Widdowson

On the final day as we chatted I told George that I thought that Will would love the markets in Birmingham, (The Bull Ring Outdoor market, Indoor market and also the Rag Market).

I started to try to explain how this wonderful sensory overload of the markets is also incredibly calming to me. It is a place that I visit when I feel that I need to be grounded, get back to what is important and matters. It does all this and more...it nourishes my soul. 

I source lots for my own Frillip Moolog beings from this haberdashery stall. 

The vegetable stalls are just as exciting at the close of day as when they are thronging with customers.

Get your bras here. Every size and colour!

Fancy Tights is just across the way from one of my favourite hardware stalls. I love the juxtaposition, the organised chaos!

Bernie serves chips tea and lots of entertaining chat.

So for me the Birmingham markets make the most amazing 3D 'painting' and also give me the most wonderful creative 'nourishment'. I love the; people, personalities, colour (lots of colour Will!) and textures and that is why the Birmingham Markets are my box of delights. 

Maybe I have completely missed Will’s idea of pollution?

With Will Alsop; here I am sporting my vintage Red Nose Day t-shirt with plenty of paint spatters!

The Art Of Architecture series of exhibitions at The Public continues until 20th May 2012. Details here 

Inspired by Yayoi Kusama to explore infinite possibilties

Making sense of the world ... this is something that occupies my thoughts much of the time.

We take in our surroundings: the space; the walls; the scale of things; the emptiness; or even the overwhelming busyness, and if you allow yourself the chance to absorb these feelings you can think... think about possibilities and about about potential narratives.

I always carry my camera with me wherever I am and take a lot of photographs. These photos are not attempting to be art in themselves but they are such a powerful tool for me as an artist. They are an aide memoir and a reminder of those moments and surroundings that have touched me on a sensory level and which have sparked off a chain of thoughts.

When reviewing photos taken this last year I selected these few. The common thread through these images appears to be possibilities ie. the potential for something to happen, to occur and for a story to take place. 

I am interested that these images are often very empty. We humans only need the bare essentials, pared down to an essence distilled to a concentrate, to evoke a very particular feeling.

This stairwell (see image above) - what is it saying to me?

Timeless, mysterious, almost mirrored sculptural forms. Am I ascending or descending the steps? Am I even in this place? I can’t actually imagine a human body in this space, the composition is completely perfect as it I feel it could actually be 2D rather than 3D. Weird.

A curving corridor with atmospheric lighting. I still dream of a corridor very similar to this. It was a corridor that I first experienced as a child in Scotland. As a little girl my grandmother took me to visit her friends who owned a big (and mysterious) house near Stirling. I was so absolutely fascinated that there could be a curved corridor. The sensory memory of trailing my hand along the cold painted wall is still very very strong.

I suppose one aspect of these first two photographs is that we cannot see what is ahead. If there is light at the end of the tunnel/corridor it will be reflected off a wall before it hits my eyes. 

I imagine how things might change; take a twist. There are almost limitless possibilities...

Here we have a straight-ahead view photographed in the labyrinth that is the Barbican in London. Even though one should be able to see any approaching danger I still find this photograph unsettling; it feels that danger could pounce at any time. 

I feel vulnerable and exposed but maybe in this empty photograph there is potential rather than desertion?

I can’t help myself from completely needing humour in my life. I do wonder what the town planners and architects were thinking when they designed this entrance to a social housing complex which I photographed on my last visit to Edinburgh.  I am Scottish so am happy to laugh at my own nation’s emphasised patriotism manifested here in this this castleated wall. A wheely bin is the ‘perfect’ unexpected addition to this entranceway! 

I do seem to have a collection of photographs of car parks and this is one of my favourites.

 Can you believe the ‘excitement’ of driving round and round in this exposed spiral. I instantly felt as if I was inside the classic Fisher Price toy garage! 

Even when your view is saturated or overloaded this can also strangely give you ‘space’ to imagine and meditate on possibilities. 

I think when I first encountered Yayoi Kusama’s mirrored piece, The Passing Winter, exhibited in Tate Liverpool, I was mostly occupied with taking this photo capturing both mine and my son’s faces. But if I am able to spend time with this piece of art again I will use it to ‘travel’ to a far off place in my mind. The possibilities are infinite here and it is infact one of the works in Kusama’s infinity mirror series.

Just this week I read in the newspaper that many notable writers and thinkers throughout the ages have sworn by the power of walking for its ability to relax us and allow us to enter into a meditative and creative mindset. 

I walk through this meadow 3 or 4 times a week and this photo is one snapshot of my walk that I often return to in my dream time. (My half awake and half asleep state where I like to ponder and explore possibilities.) 

During the summer of 2011 I had a growing feeling that I had to somehow get my largest and latest-to-be-completed Frillip Moolog being (sculpture), Mi Wawa, into this same meadow. 

I felt that this was a place that Mi Wawa herself had to visit. 

I wanted to place her in this ancient location (it hasn’t been ploughed for over 100 years); I wanted the spires of Lichfield Cathedral to be in the background (is Mi Wawa religious?) and lastly, I wanted her to have some of the cows that were grazing there to keep her company.

I saw the potential of the meadow with the cathedral backdrop, I had a strong feeling about this space and wanted to use Mi Wawa  to complete my experience of it. 

People have asked me why I made this image and this post is my first attempt at explaining why I often feel the need to give my beings the opportunity to inhabit certain spaces.

Are these photos part of my practice? I suppose that they are; they evidence how I manifest just a fraction of the possibilities that I see around me.  

Mi Wawa will soon be spending time 'inhabiting' another English cathedral as I am one of the 55 artists selected to exhibit in The Open West.

The Open West, 2nd March- 31st March 2012

Gloucester Cathedral, Gloucester UK  

Cosmic Communist Constructions Photographed and how monumental memories become sculpture

Buildings; what is it about them that keeps me enthralled? Is it their form, materials that they are constructed from? Or maybe it's mostly due to the feelings that they arouse in me.

There are different kinds of the feelings; those that I have now when I encounter a building as an adult and a feeling that enhances a previous feeling.

I often have a deja vu kind of enhanced experience of a building because actually it is reawakening memories from my childhood.

Re-experiencing long forgotten experiences by delving deep into my memory is what I do when I am in that half asleep half awake state. That state when almost all of my real creative work is done.

This is when you are neither here (2011) nor at some point in your past.... nor possibly (if you believe that it is possible) at some future point in your life that you do not yet recognise.

Earlier this year I bought a very much talked about book, CCCP (Cosmic Communist Constructions Photographed) by Frederic Chaubin When I ordered it I had no idea how talked about it was to become, I had simply pre-ordered it online and then forgotten about it until it arrived two months later. Little was I to know that it would inspire me on so many levels - the introductory essay alone led me to rewrite my artists statement!

It is the most wonderful book possible in my opinion. The only drawback is that it is huge and very heavy so definitely not one that you can pop in your bag for a train journey!

Not being a writer I am fining it hard to describe just how much bliss I have experienced while poring over the pages.

Obviously I have a strong interest in the Brutalist and Futuristic buildings that Chaubin has tracked down and photographed but there is also so much more to these incredible and fantastic structures.

I think that Chaubin has captured these places in such a mesmerising way that not only am I entralled by the buildings but by the sensual photographs too (so many of these I just drool over ... again ... and again).

These photographs are keys ...they are opening the doors to so many memories in my mind.

I don’t need hypnotherapy to re-visit some of the deepest and most elusive fragments of my childhood experiences of buildings and interiors, because I have begun to just open CCCP, turn the pages ... calmly, ... rhythmically, ... carefully, ... with my eyes devouring the images, ... and before I know it I have been whizzed back along some neural pathway to a snapshot in my mind - to a time and place that I didn’t even realise was so important.

Chaubin’s photograph of Zavarnots Airport Control Tower is one of my favourites, although there are so many that I have now given up marking the pages (see the plethora of sticky page markers in the photo above)!

Zavarnots Airport Control Tower is on page 118 of CCCP but in order to avoid copyright infringement here is an alternative image of it from Wikapedia. See photo below by Marshal Bagramyan.

I know that I am instantly drawn to it first because of it’s form. I already know that several of my sculptures have similar segments, and that ring of circles on the underside of the tower could so easily be buttons in my mind.

But there’s more... the view looking up from below (Chaubin’s image is even better) reminds me of that feeling of being a child and viewing the world from a low vantage point. I find myself feeling like I’m looking up at the underside of a piece of furniture... or a giant pedestal (usually for those big flower arrangements that my mum and aunties did.)

Now I am traveling deeper into my memory...

When I was 8 I accompanied my Nan (grandmother) on a trip to visit my cousins in Detroit, USA.

I wrote this postcard while on the flight.

After our long, but for me exceedingly exciting flight we landed at Toronto. Being in Toronto we had to visit the Niagara Falls. Just opposite the Niagra Falls there’s The Skylon Tower.

Zoom in on this picture to see the tiny yellow lift that travels up on the outside of the tower.

My nan was an amazingly adventurous and lovely lady. She certainly knew how to make things special for a little girl. I can’t remember even imagining the possibility of traveling up this scarily tall building but before I knew it I was in that little yellow bug of a lift and we were whizzing up the outside of the tower.

You have to remember that this was back in 1972 and I lived a quiet country life. This was exciting... oh yes! But I'm sure I would have also felt just a bit nervous being in a lift on the outside of a building!

So The Skylon tower was built in Canada in 1964... Meanwhile back in the UK another of my now favourite landmarks was built as part of the M6 motorway services at Forton. I’ve driven past so many times over the past 27 years but only just took this photo earlier this year. For lots more information and images of the building of this landmark tower visit its own dedicated website.

'Strange One' is my latest sculpture (being).

Photographing her was interesting. I like when you experience a sculpture over and over. I like to encounter the work and be surprised. She has been an awkward little thing. So elusive to reveal herself.

At the centre of 'Strange One' is a set of avocado green acrylic bathroom tap heads which had sat on a shelf in my studio for months. I had looked at them, held them in my hands, and felt quite intrigued by them. I knew I wanted to use them to make a Frillip Moolog being but if anyone had asked me what I was going to call her I would have said 'Margot'.

However she changed so much in the making from my first sketch to having access to the right equipment to make the brass structure. I was definitely thinking of trapezes and circuses when I did this rough sketch (see below).

Making her was a slow process and she languished on a shelf again for more months while I tried many permutations of fabrics. Right at the very end I realised that 'Margot' had grown into a much more interesting being. She became 'Strange One'.

She is fairly small but seems to have a monumental presence in her photographs.

I am enjoying her strangeness and for me this image (below) is best. I love the viewpoint; it reminds me of being a child and looking up... being open minded and full of wonder.

Post script.
Back in December 2009 we saw the Moscow State Circus perform when they visited Birmingham, UK.

Compare the photo of 'Strange One' (above) and this photo (below) of Moscow State Circus trapeze artists suspended on cables within the dramatically lit and draped circus ring.

Of course is it any surprise that the permanent home of Moscow State Circus is also included in my all time favourite book CCCP?

This photo taken from Wayfaring website.

To see Frederic Chaubin’s photo of the building see page 186 of CCCP.

This is a book worth spending time with.

From Eileen Gray to Maurice Broomfield with Frillip Moolog in between!

Time is not linear. I have proof!

Sometimes I try to unravel my inspirations. I try to track back but I keep discovering that it is never a simple matter of, “I saw this and so I thought of that”. The sequence of events is usually messy.

Sometimes I look at something, say an old exhibition catalogue, and I ask myself, “What was I doing back then, in that year?” Was my life even orbiting in the same stratosphere or was I still working in an office?

I made Chubby Blue (pictured above) back in 2006. The reason for his colour is completely due to the fact that a central element of this being (sculpture) is a pale blue ceramic soap dish.

I remember thinking about how so many 1950’s American cars had padded upholstered interiors. Padding was everywhere even on their dash boards. I decided to make big tubes of upholstered baby blue vinyl and completely feature on padding and upholstery when creating this Frillip Moolog sculpture.

So, that’s a very direct explanation for the beginnings of Chubby Blue.

Around the same time that I was making Chubby Blue I also became aware of Eileen Gray. I was fascinated by the stories surrounding her most famous architectural design, E1027 (built between 1926-1929).

Eileen Gray (1878-1976) was a talented designer and architect who is now being given the serious recognition that somehow evaded her during her life. She was a woman in a man’s world.

I was fascinated by the story of Le Corbusier being exceedingly jealous of E1027, the perfect seaside hideaway that she had designed. I pictured him swimming in the Mediterranean and gazing up at E1027 consumed with envy and jealousy. Actually, when he died in 1965 it was as the result of a heart attack; a heart attack that he had while swimming in the sea just below E1027.

I don’t know when I first came across this image (see below) but I absolutely love the exotica of the zebra skin rug in this modernist interior. It is not E1027 but actually the interior of Madame Mathieu Levy’s Rue de Lota apartment in Paris. In 1917 Eileen Gray had been commissioned to redesign the interiors and furnishings and the Bibendum Chair (see image below) was designed as part of that project and is now recognised as one of the major design classics of the 20th century.

There is no denying the strong visual similarities between Chubby Blue and the Bibendum Chair. I guess I must have been aware of the Bibendum chair but it certainly wasn't at the top of my consciousness and I certainly didn't come across this photograph until after I had completed Chubby Blue (honest).

My sketchbooks make references to padded American car interiors, even hot water tank lagging jackets. I made a connection in my mind from padded car interiors to The Michelin Man. (The company mascot for the Michelin tyre company.) Again in my mind he was a sort of blue colour but actually that was simply in my mind (he is very definitely white.)

I took this next photo of Michelin House in London in July 2006, five months after completing Chubby Blue. That was the first time that I had set eyes on the building!

There is no doubt, simply looking at the form and also the name, Bibendum, that Grey was also inspired by the Michelin mascot when she designed the Bibendum Chair.

There are many images of E1027 online. In particular on the Ouno Design Blog and also the Friends of E1027 website.

Quite honestly I believe that Chubby Blue would look so at home in E1027. If time travel was possible and I was granted an audience with her, I wonder, would Eileen Gray and I hit it off?

So the dramatic story of E1027’s ‘life’ includes the fact that although Le Corbusier never did succeed in owning it he did stamp it with his imprint when he painted eight murals on the walls during a period when Eileen Gray was away (1937-39).

She was outraged and felt that this was a blatant act of vandalism of her creation. She held a grudge against him for the rest of her life and never ever returned to E1027.

During the German occupation of the area during the second world war it is reported that soldiers used the murals for target practice. The house ran into disrepair and was inhabited by squatters. And more drama...its last owner was murdered in it.

There are so many more stories around E1027 but you will have to discover them yourself. But for now go and make yourself a cup of tea sit down and watch this beautiful and haunting 6 minute video (filmed by French journalist Florence Canarelli in November 2010.)

This is a building which has had a thoroughly interesting life, it is a container of many emotions and passions. But really it is in no hurry to reveal itself completely.

I believe that I need to visit it and to experience it myself however as I have already made Chubby Blue could it be possible, I mean if time travel was possible, then perhaps I have already been there?

Like the patina of old furniture the layers of stories relating to a building take years to build up and become a strange psychic ‘force shield’ of a building. Not physical but definitely a ‘part’ of it.

Another building that still haunts me is the wonderful victorian Lucas Electrical Great King Street factory (see picture below). It was the headquarters of the Joseph Lucas automotive parts manufacturing empire. I actually worked there back in 1984 in my first job; graduate trainee management accountant. I so wish that I had taken photos but back in the 80’s we weren’t all walking around with cameras in our pockets and uploading images and videos online. (There was no online then!)

I have no personal visual mementoes of my time there but I do still re-live the sounds, smells and touch of this building in my mind.

It was completely impractical for modern manufacturing as working within a seven storey building completely hindered efficient flow between manufacturing operations.

It was a completely magical building for me; full of idiosyncrasies, rabbit warren like and I really felt as if I was working inside a giant dolls’ house.

Tragically it was demolished back in the late 80’s

These two photo of the Lucas Great King Street factory (taken from the same viewpoint) are from Triple C Motor Accessories website.

More connections are being made.

Currently Chubby Blue is on show within The Public, a building which already is collecting its own blanket of stories.

Obviously I’m exceedingly happy that Graham Peet, the exhibitions manager at The Public, made his own connections.

He was interested in artworks which look like they might have a physical function, chairs for example, and wanted to show Chubby Blue alongside Will Alsop’s bench (which does get sat on) and Tom Dixon’s Pylon chair. Although chair is in it’s name most people would see the Pylon chair as a piece of sculptural design.

Frillip Moolog: Another Place is one of the exhibitions that he has curated which are all under the title of The Art Of Invention. Graham has made his own connections between, manufacturing, industrial photography, through to the functional and then non functional creations of designers and artists respectively.

Graham didn’t know that I had previously worked in manufacturing so I think that my love of industry and the industrial heritage of the West Midlands was a nice surprise for him.

Above: exhibition image from The Art of Invention.

Stan and Chubby Blue, two Frillip Moolog beings, flank the Will Alsop designed bench.

And yet another surprising connection.

A simple visual similarity here between the horizontal padded sausages of Chubby Blue and this quite surreal photograph (see below) by Maurice Broomfield.

Do I need to know what these men are doing? Probably not, but as you know I like some flesh on the bones of my experiences.

Although I don’t know exactly what these men are doing I do know that Maurice Broomfield loved to light his photographs to give the a bit more drama and a sense of glamour. His son, Nick Broomfield, says that he would treat the factories as stage sets and even select the most attractive people to be in shot, whether or not they were the usual ones to perform that particular manufacturing task!

The Public doesn’t go into things by halves so while Frillip Moolog: Another Place and selected works from the Frank Cohen Collection are shown upstairs, together under the umbrella title of The Art Of Invention, downstairs there is, In the Best Light, a retrospective of Maurice Broomfield’s industrial photography from the 1950’s and 60’s.

As Tim Meehan said in his article (Times Newspaper 16th April 2011),"It takes a special eye to make arduous industrial processes and perilous manual labour seem sexy, epic and mysterious".

Nylon Stocking Testing Laboratory, Pontypool, Wales 1957. Sexy? ...oh yes!

(Note this is my photo of the photograph on exhibition at The Public. The pink aura in the image above is a result of the reflection from the pink tinted windows of The Public.)

The Art of Invention and In The Best Light

The Public, West Bromwich, UK B70 7PG

Exhibitions continue until 26th June 2011.

Exhibition Celebration Party Invitation

Wed 8th Jun 2011 6-9pm

RSVP to exhibitions@thepublic.com