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Poklong Anading (Manila)

Chris Bell (Austrailia/San Francisco)

Simon Blackmore (Manchester)

Simon & Tom Bloor (Birmingham/London)

Jon Brumit & Sarah Wagner (Detroit)

Michelle Carollo (NYC)

Mike Chavez-Dawson (Manchester)

Susan Chen (San Francisco)

Joshua Churchill (San Francisco)

Nick Crowe & Ian Rawlinson (Berlin/Manchester)

N. Sean Glover (Pittsburg, Penn., USA)

Mary Griffiths (Manchester)

Antony Hall (Manchester)

Taro Hattori (Oakland, Calif., USA)

Eric Hongisto (San Francisco)

Sarah Kabot (Ohio, USA)

Scot Kaplan (Ohio, USA)

Verity-Jane Keefe (London)

Yuen Fong Ling (Manchester)

Ivy Ma (Hong Kong)

David Moises (Vienna)

Ali Naschke-Messing (San Francisco)

Scott Oliver (Oakland, Calif., USA)

Susan O’Malley (San Francisco)

Laurence Payot (Liverpool)

Pest (Rebecca Chesney, Robina Llewellyn & Elaine Speight) (Preston, Lancs)

Anthony Ryan (San Francisco)

David Sherry (Glasgow)

Daniel Staincliffe (Manchester)

Tattfoo Tan (NYC)

Jenifer K Wofford (Oakland/Prague)

MM Yu (Manila)



Poklong Anading

Tattooed Heart no. 0017, 2009
ink on tracing paper
dimension variable

In Tattooed Heart, Poklong Anading agitates the hackneyed symbolisms of tattoo and heart by investigating the process of art making. Using the hand as an index for crumpling tracing paper, Anading employs an elementary act of making, trapping shapes and applying color.
The folds of the tracing paper become its fixed and final medium—the artist explores the fault lines of abstract patterns and captures precise moments.
From what seems to be a rejection, a disliked work, these crumpled pieces are related to a series of sculptures of clasped hands, which form the shape of a heart—in itself is an abstraction, trapped there somewhere, and from which systems of connotations arise in things that remain permanent, excessive, and passionately obsessed.

Poklong Anading (b. 1975, lives in Manila) received his BFA from the University of the Philippines—College of Fine Arts in 1999. In 2002, he represented the Philippines in the 4th Gwangju Biennale held in Gwangju, South Korea and was a participant in Jakarta Biennale 2009. Anading has also been granted several awards including the First Prize for the 12th Gawad CCP for Experimental Video (1999) and the prestigious The Cultural Center of the Philippines Thirteen Artists Awards in 2006 and the Ateneo Art Awards, Ateneo de Manila (2006 and 2008).



Chris Bell

Untitled, 2009
8×6 inches / 203×152 mm


My earliest works were installations and sculptures working with the slow and fleeting rhythm of the sun.
Part of this sun-engagement has been an intermittent drawing practice using its light/heat through a magnifying glass. Recently on a residency in Scandinavia I had so much summer sun that I rekindled this interest, primarily making text works on Norwegian wood. I like to use such basic and old technology to communicate in this age, obsessed with the forms of (sleek) media.

Born in Sydney (to new immigrants from Ireland). I have been living in the Bay Area, CA for 3 years since finishing my (belated) MFA at Stanford University. Prior to that I was living in Melbourne, Australia for 10 years. My BA was received from Sydney College of the Arts in 1992. Since that graduation, I have had a practice centered in the artist-run communities and galleries. Only brief brushes with a wider public. I support myself and fund my works through manual work, occasional grants and now some teaching.

Artist’s Statement
I’m interested in suggesting alternative views and uses of the simple materials and objects we (in the West) live with. Our relationships with one-another are often mediated with objects (clothes, cars, buildings, etc.). These simple material signifiers are usually straight-jacketed and so strongly co-opted to a ‘universal’ role that their essences are overlooked. Changing the context and ‘performative’ qualities of objects and materials—giving then new uses—is my attempt to inspire all of us to see the potentials for creative interaction with the everyday.



Simon Blackmore
data sculpted plant #01, 2009
photographic print
5×7 inches / 127×178 mm

data sculpted plants uses the technique of long exposure photography to capture mechanically drawn light tracings. Following mathematical algorithms and environmental distortion, 3-dimensional plant forms are slowly drawn in space. In realtime they are witnessed only as a moving spot of light, however the long exposure image reveal complex forms that reflect the invisible presence of data in the space.

Simon Blackmore (born in 1976, UK; lives in Manchester) makes performative sculptures and installations using sound and custom-made technology. Since gaining a First Class Honours degree in Sculpture at The University of Wales Institute, Cardiff (1999), and an MA in Creative Technology at Salford University in 2001, he has received commissions and exhibitions from galleries throughout the UK and was nominated for the Beck’s Futures Prize in 2006. He also creates and performs experimental music internationally as part of the Owl Project collective.

Artist’s Statement
I make sculptural artworks that often have a low-tech aesthetic and draw influence from craft-based traditions such as green wood working, electronics and open source software. During the last few years I have been making a range of works that explore the relationship between physical space and abstract concepts of technological space, the tactile and the digital. Within these works, recognisable objects such as trees and boats have been adapted to reflect and interact with the invisible sub-structure of data that permeates our world.


bloors razzle dazzle 2009

Simon & Tom Bloor
Razzle Dazzle #1
Risograph print on paper
diptych, each part 11.7×8.5 inches / 29.7×21 cm, edition of 5

The work is one of a series of works we are currently making using images found on the internet that reflect an interest in the use of patterns & decoration, particularly in our current preoccupation with the Dazzle patterns created in World War I as a form of camouflage for ships. The works take a range of seemingly disparate images (in this case a portrait of a woman & military checkpoint) and create a dialogue between them using the visual element that links them: the stripes.

Simon & Tom Bloor (both born Birmingham, UK 1973) have been working collaboratively since 2003. They live and work in London and Birmingham and are represented by MOT International, London. Past exhibitions include Modes of Civic Life Transmission Gallery, Glasgow; The Ballad of Gunpowder Joe MOT International, London; The Long Take Moot, Nottingham and As long as it lasts, Eastside Projects Birmingham. As well as gallery exhibitions, they have produced projects in a variety of settings including a zoo (What Are The Senses?, 2005), the London Underground (The necessity of everyday living, 2006-07), and a project on a canal boat in Birmingham with Ikon Gallery (Hey for Lubberland!, 2009). In addition to their collaboration together they also work with artist/curator Gavin Wade (as Gavin Wade mit Simon & Tom Bloor) on their series of Kiosk projects.

Artists’ Statement
We use a variety of media, making projects that develop from research into a diverse range of subject matter including historic documents, 20th Century architecture & design and contemporary popular culture. Past works have combined images and texts to create new possible readings and alternative interpretations in an attempt to reassess obscure histories and flawed utopias.


brumit wagner

Jon Brumit & Sarah Wagner

Greetings from Detroit! ($100 House), 2009
printed postcard, photo by Dima Gavrysh
6×4 inches / 152×102 mm

so having been back and forth to detroit for over 10 years now, we started to consider buying a house in the no-ham / banglatown neighborhood about 3 yrs ago. some friends moved to the neighborhood and we heard that prices were dropping dramatically. after a few enticing emails, we were hooked. we bought this little hud (repo) house for $100 (the house cost $95, the commission was $5). then by way of having dinner with some friends, one of whom wrote an op-ed piece for the new york times, the house became sort-of famous: abc, npr, 20/20, pbs ... weird ... they pretty much all had their stories written beforehand and seemingly would get in touch only to quote us for their stories about ‘artist colonies’ or ‘revitalization efforts’ or some other misleading, non-factual rendering of an otherwise messy and unquantifiable experiment. anyway as you can see in the photo we’re happy enough to just work on the house, scavenge, recycle and try to make as much progress as possible without spending any money at all on materials, adapt to and learn from the city and ultimately meet and spend time with our neighbors, a vibrant mix of polish, african-american, bangladeshi, unkrainian and otherwise caucasian-ish families. so regardless of how much we’ve gotten done on the house so far, it’s pretty exciting to learn from this place, 3rd-world-city-of-the-future that it is.

brumit = collaborative and solo isms
brain = radio
body = demolition using a 2x4
future = baby + teaching (saic) + $100 house + 10th annual byobw next easter
best friend = that lady in the postcard with me sarah wagner!

Artist’s Statement
i like talking to people and making things. i am excited to show this postcard and give one to everyone else in the show!



Michelle Carollo
Black-Out-Bits, Ground Image, 2009
photographic print
8×10 inches / 203×254 mm

Michelle Carollo (New York) was born in New York, 1980. She received her MFA in painting from the San Francisco Art Institute in 2007 and her BA in studio art from the State University at Stony Brook in 2002. Carollo is a recipient of the Marie Walsh Sharpe Art Foundation, Space Program (2008-2009) which has provided her with a studio until August 2009.

Artist’s Statement
I make installations that are based on Modernist ideals: simplifying form, eliminating ornament, and arranging pure color. I play with the idea of making a painting in space. I am interested in translating illusionary space, like that found in painting, into physical space like that found in sculpture. I never subscribe completely to either medium. My process investigates mixing three- dimensional elements on two-dimensional painted surfaces-sculptural painting. The elements are found, made, and painted, then compiled, collected, and constructed. I base each structure on a limited palette and a set of predetermined conditions: building, composing, and removing elements.



if you like my art you are clever, if you don't you are stupid, the obvious manifesto, the memoirs of robin nature-bold

Mike Chavez-Dawson
Proposed Book—The Obvious Manifesto (the memoirs of Robin Nature-Bold), 2009
digital file, vinyl
8×10.325 inches / 203×262 mm

Book cover design for a highly fictional account of my retired alter-ego Robin Nature-Bold, spliced with real accounts of exhibtions, performances reviews, previews etc.

“My art practice is interdisciplinary and research led, framed by an exploration into revealing the ‘myth’ of the artist’s intention against the audience perception. I intend to expand and challenge an audiences experience whilst offering alternative bridges/means to interpret; this is usually through multi-part works that sit between ‘performance’ and ‘curation’. It’s the continual habit of cross-referencing seemingly opposing languages, narrative structures and interpretative motifs that invigorate my critical concerns, as these pave the way to widen cultural gaps and make transparent ideological conditioning. Collaboration, facilitation and non-sectarianism are at the heart of my creative endeavours. I am investigating by practice ‘the borders between performance and documentation from a contemporary visual art perspective’.” MCD, 2011

Mike Chavez-Dawson graduated from Manchester Metropolitan University, Interactive Arts BA (Hon’s) in 1997 and MA (Art as Environment) in 1999; he is now currently a PhD (by practice) research fellow at MIRIAD. He was the Visual Arts Editor for Flux Magazine and founding curator for Flux Space for just over a decade. Chavez-Dawson work’s crosses an interesting path of disciplines, such as fine art & design, performance, music, curating and publishing. To date he’s ran a gallery in a publication, utilised alter egos as living portraits, ran a club night as an artwork, formed a band to explore the relationship between visual presentation and it’s audio, interviewed dead artists through a spiritual medium, created a cinema using hypnotism and gave gallery tour’s as estate agents and crime solving detectives.

Recent shows/projects include: ‘Memory Flash’, Carter Presents, London. ‘Magda Archer: Crazy Mad’ Cornerhouse, Manchester. ‘Re-Covering’, Untitled Gallery, Manchester. ‘Network Aesthetics – The Reading’ , Castlefield Gallery, Chinese Art Centre, Cornerhouse, Cube, Manchester Art Gallery, John Ryland’s Library, The Reading Room Collection MMU Library, Manchester. ‘Nigh Revolve-Lution’ (Live Text Performance), British Art Show 7, Nottingham Contemporary, Nottingham. ‘Re-Motive View(s)’ (Live Text Performance), The Surreal House, Barbican, London. ‘Unrealised Potential’ Cornerhouse, Manchester, NGCA, Sunderland, VOID, Derry, N.Ireland. ‘Involved Socially’, Base Gallery, San Francisco, USA. ‘Title Murdered’, ‘Strange Days & Some Flowers’, The Storey Gallery, Lancaster. ‘Selling the Psycho-Geographical Breakdown’ for Afterhours ‘Subversive Spaces’, The Whitworth Art Gallery, Manchester. ‘A bANdA dA’ Late at the TATE, TATE Britain, London.




Susan Chen
The Once Blank Areas of the Map Above the Sixtieth Parallel, 2009
fleamarket frame, photo
7×11×0.325 inches / 178×279×8 mm

Born in Houston, Texas and lives and works in San Francisco. Chen received her MFA in 2006 from the California College of the Arts. Exhibitions include “Butterflies Shift North” at Skydive: Houston TX, Eleanor Harwood Gallery: San Francisco, San Jose Museum of Art, and Patricia Sweetow Gallery: San Francisco.

Artist’s Statement
My practice is inspired by 19th century Romantic painting of sublime landscape of the Arctic the mythical notion of Arctic Eden, the dream of a tropical paradise in the middle of a world of frozen oceans and glaciers.

Leftover visual memories stemming from Caspar David Friedrich and John Martin get filtered though stories and pulp fiction from Jules Verne and sci-fi to movies and TV shows like “Lost.” Islands and the arctic regions are my riffing point. These symbolic places for transformation are disappearing and once again the weather or nature has sublime power in it’s original sense of awesomeness and potential destruction of the viewer.



Joshua Churchill

En Route (2009/postal version), 2009
digital voice recorder, mailing envelope, sound
approximately 1×9×12 inches / 2.5×29×30 cm

En Route (2009/postal version) is an updated spin of an older project, whereby a package containing a live audio recorder is sent to a particular destination and simultaneously documents its journey along the way. In the previous version, the package was a piece of my checked luggage as I traveled from San Francisco, CA to Lisbon, Portugal. In the current version, the package is a mailing envelope and the journey which is documented is the postal route from San Francisco to Oakland, and eventually from the San Francisco Bay Area to an undetermined international location. In both cases, the package acts not only as the vehicle for the work (in both figurative and literal terms), but also as the object on view during exhibition, describing and retelling the story of its journey by way of routing/postal markings as well as sound - the recorded sounds are played back continuously from within the package. The current version adds an additional function to the project; it is finally sent “one-way” as a gift to the recipient of an art swap who may then choose to dedicate the recorded sounds and recorder as an art work or erase the recordings to record sounds of their own.

Joshua Churchill was born in Oakland, CA and received a BA in Studio Art at the University of California at Santa Barbara. Churchill currently lives, works, and plays in San Francisco, California. Joshua Churchill’s work is currently on exhibit at Adobe Books Backroom Gallery in San Francisco. His work was featured in the survey exhibition “Bay Area Now 5” at Yerba Buena Center for the Arts in 2008, and he has also exhibited and/or performed at Audio Visual Arts (New York), Meridian Gallery (San Francisco), Chapel of the Chimes (Oakland), Luggage Store Gallery (San Francisco), Recombinant Media Compound (San Francisco), 7hz (San Francisco), National Showa Kinen Park (Tokyo), Aqua Art Fair (Miami), New Media Scotland, San Francisco Museum of Modern Art, Post Gallery (Los Angeles), and Galeria Ze Dos Bois (Lisbon, Portugal).

Artist’s Statement
My artistic practice crosses a number of media and disciplines, including immersive site-specific sound and light installations and performances and photography. One of the underlying threads to my work is an awareness of site and environment, be it physical, spatial, psychological, or emotional. Regardless of media, I strive to evoke the inherent mystery contained within the environments with which I work by interacting with it and representing it in a dynamic and often abstract manner.

My installation work tends to focus on environments and objects that are in states of transition, disuse, or decay. I recontextualize and reanimate these environments and objects using sound, light, and appropriated technology, while exposing the ways in which sound and light can simultaneously effect and define both urban and natural environments, as well as its inhabitants. The majority of the sounds I use in my installation work are created and collected on site in a performative matter, representing my personal exploration of the site or object’s surface and history.


crowe rawlinson


Nick Crowe & Ian Rawlinson
Scratch, 2008
photographic print
11×7.3 inches / 279×187mm

Live Berlin and Manchester.
Worked collaboratively since 1994.



N. Sean Glover
Record Player in an Envelope, 2009
media mixed
roughly 8×11 inches / 203×279 mm

This is a project that pares down a record player to its bare bones. Only a few parts are needed in order to succeed. It is inspired by the Card Talk players that were produced by the Global Recording Network (a Los Angeles based organization that is devoted to spreading the Christian gospel). This record player requires only the power of the listener to drive. Thus, it provides a more personal relationship to the content provided. The act of making this simple record player and using it to listen to vinyl creates fresh connections that are formed through the experience of making, problem solving, and sourcing.

N. Sean Glover (Pittsburgh, Pennsylvania, USA) received his BFA from The School of the Museum of Fine Arts in Boston MA. He was granted a fellowship at Skowhegan School of Painting and Sculpture in 2003 and has studied fresco restoration at Lorenzo de Medici Scoula de Arte in Florence Italy. Sean was a recipient of a 2005 Traveling Scholars award at the SMFA in Boston. His work has been included in many group shows including The Portland Museum of Art in Maine and the Museum of Fine Arts in Boston, Massachusetts. Sean Glover is an instructor for fresco techniques at the Skowhegan School of Painting and Sculpture. He is a candidate for a class of 2011 degree as a Masters in Fine Arts at Carnegie Mellon University in Pittsburgh, PA.

Artist’s Statement
I am challenging the viewer to consider alternative uses for objects that have otherwise been forgotten. This is my reaction to the economics of planned obsolescence. It is important to me that the viewer reconsiders their relationship with technology, the production of objects, history, and experience. To reconstitute an object, to tinker, is to produce an act of bricolage. The gesture of bricolage is not meant to perform as a sweeping solution to obsolescence. Instead, it acts as one of many small gestures that accumulate into a greater experience and understanding of our surroundings.


griffiths, canopy, 2009

Mary Griffiths
Canopy, 2009
Carbon copy of watercolour drawing
8.25×11.7 inches / 210×297mm

Mary Griffiths (b.1965) studied English at the University of Newcastle (1984-87) and Museum Studies at the University of Manchester (1988-89). She has worked as a curator since 1989 and is currently Curator of Modern Art at The Whitworth Art Gallery, The University of Manchester. She is studying for an MA in Fine Art at Manchester Metropolitan University, UK, and has shown work in the The Origins of Nine, Islington Mill, Salford (2008); The Jerwood Drawing Prize, London and touring (2008); Four Manchester Artists, FAFA Gallery, Helsinki, Finland (2009); Where the Garment Gapes, The Triangle, Manchester (2009). Pictures of War, a book of her drawings of the wars in Afghanistan and Iraq was published by Carcanet in June, 2009.

Artist’s Statement
(Manchester-based) Mary Griffiths’ observations of everyday architectural configurations are rendered in watercolour, graphite, and also as wall drawings. These drawings aspire to the condition of airy nothingness, through slightness of line but also its density. In the case of the graphite drawings, the tarnished sheets of paper are reminiscent of early photographs, transformed into something through the revealing of an image in their burnished surfaces. Like negative/positive photographs, each latent image ‘develops’, hanging upon and within the piece of paper. Made using outmoded office carbon paper, the drawing shown in This & That continues this employment of the metaphorics of the now arcane processes of the machine age.



Antony Hall
35mm Hele shaw cell experiment, 2008
35mm glass slide case, ink ,super glue, viewing lens
1.6×1.6×1.6 inches / 40×40×40mm

The Hele-Shaw cell is used to observe flow and behaviors of fluids between two parallel flat plates separated by an infinitesimally small gap. For such flows, the complex interface boundary conditions are defined by pressures and surface tensions. A drop of ink is placed inside a larger glue drop. The glass plates are pressed together hard for 10 seconds. Any irregularities within the droplets shape when compressed, result in a tiny stalk growing. This grows rapidly, because the growth speed of the stalk is inversely proportional to the distance from the center of the droplet to the edge of the glass plate. This process repeats itself over many scales, resulting in a tree like dendritic patterns. To add to the complexity the ink reacts with the glue hardening it on contact, which often results in flow perpendicular to the edge of the cell.

Antony Hall, UK, b.1976
MA. Art as Environment, Manchester Met University 2002

Antony Hall is a multidisciplinary artist who investigates biological and physical phenomenon like the behavior of liquid or animals, and the physicality of sound. He is interested in how we interface with science & technology—visually, physically and ideologically—and how these interactions effect us creatively and socially. This takes the form of long-term research projects, residencies, performance, and sound art—often working within universities and museums, in collaboration with scientists.

His work has been developed, exhibited and demonstrated across Europe and the UK including; Arts Council International Artists Fellowship with Centre National de la Recherche Scientifique (CNRS), Dutch Electronic Arts Festival, BIOS, International Festival of Art/Science/New Technologies, Trondhiem Electronic Arts Festival, and the European Forum for Emerging Creation. In the Owl Project, he collaboratively creates, exhibits and performs internationally hand-crafted wooden devices (the Log1K & iLog) and other instruments.

Artist’s Statement
My working process involves locating and identifying behaviors and developing control structures [devices & instruments] within which certain unique, special events can exist. Essentially these take the form of ‘tabletop experiments.’ I construct assemblages as discrete environments which function as systems, [electrical, biological or chaotic] presenting active processes. They are created in order to sustain or nurture a particular event, for example; a vortex in a coffee cup, or the life of microorganisms in a droplet of water. These ‘tabletop’ works assimilate phenomena which, being susceptible to change within themselves and the environment that directly surrounds them, require to be nurtured.

Through presenting active investigative processes, the work is a continuous play on potential failure and possible solution, where failure is as important as resolution.



Taro Hattori

Oh, the Humanity at Home!, 2009
paper craft kit, cotton
kit: 8.5×11 inch / 216×279 mm (×4)
assembly: dimensions variable

Taro Hattori (Oakland, California) is an installation artist. He has been awarded residencies at Kala Art Institute, Djerassi Foundation, Taipei Artist Village, McColl Center for Visual Art, and Headlands Center for the Arts. Hattori’s work has been exhibited at numerous venues, including Contemporary Art Gallery in Opole, Poland; LMAN Gallery, Los Angeles; Yerba Buena Center for the Arts; Mission 17; The Lab, San Francisco; Headlands Center for the Arts, Sausalito; Swarm Gallery, Oakland; Peter Miller Gallery, Chicago; The Asian American Arts Centre, NYC and Ssamzie Space, Seoul. He curated exhibitions at Mission 17, San Francisco, and Kala Art Institute, Berkeley, and currently serves as a curatorial committee member at The Lab, San Francisco. He holds a BA in Clinical Psychology from Sophia University, Tokyo and a MFA in Time Arts/Video from the School of the Art Institute of Chicago.

Artist’s Statement
My art practice is a way of measuring distances between myself and things that are unacceptable. I try to define myself by examining what I hate, what I feel uncomfortable with, and what I do not understand. Dealing with those “unacceptable” elements as significant constituents of my world, I try to integrate them with other “pleasurable” elements to render my world more coherent and balanced. In the search for order, my work functions like a machine. As Paul Klee’s Twittering Machine illustrates the chirping of birds through the movement of an off-centered shaft, my work reveals a sort of “mechanical” undercurrent of factors in my private and public life. This hidden undercurrent shows how the viewers and I play our roles in the condition of our contemporary life.



Eric Hongisto
Homesteader, 2008
Intaglio on Paper
5×7 inches / 127×178 mm

From a series of fine art intaglio prints that explored buzzwords that will/may occupy the public lexicon in the coming years: peak oil, homesteader, grey water, malthusian etc.

Currently lives and works in San Francisco.



Sarah Kabot
Open Closed, 2009
6¾×10½ inches / 172×267 mm

Walking though the deserted downtowns of rust-belt cities inspired this altered found object. The languages of commerce and community have been disrupted in so many of these places. They bear a passing resemblance to what they once were, or what they might in the future be.

Sarah Kabot was born in Royal Oak, Michigan. The visually repetitive environment of the suburbs continues to inform and influence her sculptures, drawings and installations. In 2006, Sarah had her first solo museum exhibition and catalog, titled On the Flip Side, at the Museum of Contemporary Art in Cleveland, Ohio. Recent exhibitions include the Apparently Invisible at the Drawing Center, X and Paper City at Mixed Greens Gallery both in New York City, and One by One at Smack Mellon in Brooklyn, New York. She has been granted 2009 residencies at Sculpture Space in Utica, New York, The Nest in Oakland California, and Dieu Donne Papermill in New York, New York.

Artist’s Statement
My work examines the act of artistic production within certain conceptual boundaries of contemporary art concerning the nature of reality and perception. Through close reproduction and manipulation of an object the work calls into question the significance of that object and emphasizes the shift between original and reproduction. The techniques of repetition I use in all of my work—rotation, mirroring, and amplification—create visual tension between the original and the intervention, between the existent object and the imagined object.



Scot Kaplan

Contract, 2009
paper, ink, legal language
8.5×11 inches / 216×279 mm x2
duration eternal

When we speak about the potential of humans’ being eternal, what we describe is not any type of physical eternity, but rather a lasting essence, a notion or concept of ourselves having some kind of residual impact on others, or our existence providing a lasting context for life. As Plato suggests in Phaedo, this essence, or soul, is distinct from the empirical form that “houses” it, and allows us to know of its existence. This idea is equally demonstrated within art, that rather than the physical forms of works (which are commonly revered and coveted) it is in fact the intangible concepts that make the works both significant and lasting. In this piece, a soul is purchased using art work as currency, which suggests that, at least for the purposes of the contract, the two items have equal value, and further alludes to similarities between the systems of understanding and valuating each.

Scot Kaplan has lived and worked across the United States since receiving his MFA in sculpture from the University of Pennsylvania. The forms that his artwork’s take range from experiencial installations, to multimedia interactive objects, to performance and video. He has exhibited widely both across the US and internationally most recently with his piece Control Room which debuted in Stellenbosch, South Africa in 2006. Mr. Kaplan currently holds an Associate Professor of Fine Art position at The Ohio State University.



Verity-Jane Keefe
1962: The Social House (personal private public), 2009
35mm photograph mounted on wood, 3x architectural plans, excavated fragment
dimensions variable

1962: The Social House (personal private public) acts as a document, an archive and an artwork, paying homage to The Lintons, a now-demolished social housing estate in Barking, East London, an area on the cusp of change and regeneration.
The artist worked extensively with previous residents of the estate in Rooms with a View, a film socially mapping the area through conversations and sound recordings.
The original plans (public) of the estate are shown side by side to a formally mounted lost view of the interior (personal) of one of the homes. A fragment of tile (private) that feature in every dwelling has been dug out of the rubble pit just before the new development is due to commence.
The work re-finds, reveals and creates a model of the civic that addresses the social, ecological and spatial qualities of the places where we live.


Verity-Jane Keefe is a visual artist based in Hackney, East London. She has exhibited widely in galleries in the UK, whilst devising and delivering participatory art projects and completing residency and research-based projects in Shanghai, Pistoia (Italy) and Whitechapel, East London.

Most recently, she has completed Rooms with a View. A self-generated project funded by the Arts Council England, Barking Council and the demolition company 777, her film is a document of the built and social structure of a now-defunct social housing scheme. It featured in the 2009 East End Film Festival.

Verity worked on collaborative projects with muf architecture/art, including the European Public Realm prize-winning scheme for Barking Town Centre, the exemplary Creative Partnership Project at Dale Primary School and the Channel 4 Big Art project Feral Arcadia.

Verity has talked about her practise at various symposia, including Fly Eric Symposia Series and the Artistic Intervention conference, Ireland.

Artist’s Statement
Verity-Jane Keefe is a visual artist, working predominantly within the public realm, using moving image and installation based work to explore the complex relationships between people and place, and the idea of the landscape as museum. She is interested in the role of the artist within urban regeneration and how experiential practice can touch upon and raise ambitions of existing and invisible communities. Research is at the heart of Keefe’s practise, which is of paramount importance in the evolution of a project: how a thought turns into a thing underpinning much of the work.



Yuen Fong Ling
Join Us!, 2009-ongoing
photocopy on paper
46.8×33.1 inches / 1189×841mm

Join Us! is a proposal to audiences in the form of a poster. The images are taken from A Handbook of Anatomy for Art Students by Arthur Thompson (Dover Edition 1964, from a republication of the fifth edition 1929, of the first edition published in 1896). The 1964 edition includes unaltered reproductions of photographs that contain the erased male and female genitalia of its models. In the selected two photographs, the male and female models are depicted pondering the potential of their own self image in reproduction (albeit in absence of their sexual organs). The posters are intended to promote and encourage the recipient of the work to organize, and for audiences to join, a life class, suggesting a way to question mores, confront their own and others bodies, and encourage interaction through collective enterprise.

Yuen Fong Ling (b.1972 Salford UK) is an artist living in Manchester UK. He is a recent graduate from Glasgow School of Art’s MFA programme from 2005-2007, including an exchange with Hunter College New York in Autumn/Winter 2006. Ling is now embarking on his PhD research in Fine Art at the University of Lincoln.

Ling has exhibited and curated widely including exhibitions at International-3 Manchester, Tramway Glasgow, Artnews Projects Berlin, The Central Academy of Fine Art Beijing touring throughout China, Denmark, Australia and UK, Urbis Manchester, Gasworks London, and Transmission Gallery Glasgow.

Artist’s Statement
My practice involves adopting the strategies of model, artist and curator, to make, read, and disrupt the authority of the work of art. Recent projects have considered the role of the life model and life drawing instructor in a re-appraisal of the life class as a methodology for questioning the theoretical notion of ‘performance’ and ‘participation’ in relational art aesthetics, and its subsequent documentation. Through this reconfiguring of the life class, I aim to problematise the authenticity of these representations of the body towards an examination of identity and authenticity through my ‘self’ and others.



Ivy Ma

pencil and tape on paper
7.325x9 inches / 186x229 mm

I am recently making some minimal drawings. This little drawing is a response to Sol LeWitt, an attempt to make a tiny, rough version of his work.

Ma (Hong Kong) attained her BA (Fine Arts) degree from Royal Melbourne Institute of Technology (RMIT) / The Art School in 2001 and the MA degree in Feminist Theory and Practice in the Visual Art University of Leeds, UK in 2002. She received the FCO Chevening University of Leeds Scholarship from the Hong Kong Arts Development Council in 2001. Her work has been included in the Hong Kong Biennial and collected by the Hong Kong Heritage Museum. In 2007, as The Aland Archipelago Guest Artist Residence in Kokar, she started her art practice in drawing. She has been awarded a 12-month Lee Hysan Foundation Fellowship from Asian Cultural Council to take part in residency programs, attend courses and observe developments in contemporary visual arts in the United States in 2008-2009. In the period of her stay, she took part in two artists’ programs—The Headlands Center for the Arts in San Francisco (3 months) and Location One in New York City (5 months).

Artist’s Statement
For years, the use of ephemeral, disposable materials and found objects, the responsive site specific installations, and later, the photographic and drawing works have been creating a spiritual journey on the state of mind, in the threads of nature and cities.



David Moises
Egoshooter, 2009
mixed media
1×10.25×2.5 inches / 27×260×65 mm

The Egoshooter is a modified Barbecue lighter with a swanneck. Through the alteration, one would burn the own finger when using it. Harmless as long as it is not used and quite obvious what happens if one does. It’s up to one's imagination what a heavy smoker would do if this was the only fire source in reach. (photo: Robert Kastowsky)

Born 1973 in Innsbruck/Austria
Lives in Vienna

95-02 University for Arts and Industrial Design, Linz, Austria
98-99 Humboldt Universität zu Berlin, Germany

Solo Shows
2008 Galerie Patrick Ebensperger, Graz/Austria
2005 Charim Gallery, Vienna/Austria
2004 Neue Galerie, Graz/Austria
1999 La Panaderia w. Wolfgang Thaler, Mexico City/Mexico
1998 Kunstbüro 1060, Vienna/Austria

Latest Exhibitions:
2009 Codes und Clowns, Heinz Nixdorf Museum, Paderborn/Germany
2009 Supernova, La Generale, Paris/France
2009 Quergeblickt, Technical Museum of Vienna/Austria
2009 Phaenomenale, Phaeno, Wolfsburg/Germany

Artist’s Statement
David Moises is in every sense an artistic inventor. In the course of his sedulous “research” in the area of design and waste materials, banal everyday or more complex hobby technical procedures, especially those dating from the 50s to the 70s, he first comes across objects that interest him. The second stage of his creative process is the analysis of these “object trouvés”, which consists of partly or completely dismantling the object, and may also end as a finished product on show. The striking feature of Moises’ works is their entertainment value. The viewer can both smile at his work and find it stimulating. —Michael Braunsteiner



Ali Naschke-Messing
Last Morning, First Light, 2009
8×7 inches / 203×177 mm

Last Morning, First Light is a documentation of morning light taken from my bedroom window. I have begun to approach light, reflection, and refraction as substantive materials from which to make site-specific installations. This photograph is part of my research and investigation.

Ali Naschke-Messing is an installation artist working primarily with thread, architecture, and light. She is currently based in San Francisco, where she received her MFA from the California College of Arts in 2007.

Artist’s Statement
I tell stories through multiple voices, claim the written word as physical material, uncover narratives layered in geographical sites, and reinstate presence using a light touch. I am compelled by narrative—what gets told and what is often left silent, and that compelling space in between where transmission occurs through gesture and trace and residual intuition.



Susan O'Malley
Hey Cupcake!, 2007
White cotton apron with silkscreen printing in hot pink. AP. Accompanied by artist’s certificate of authenticity.
Printed area: 13×7 inches / 330×432 mm

I made this to commemorate making over 100 pink buttercream cupcakes for a project at Invisible Venue in Oakland. Also, you are so sweet. And as cute as a cupcake.

A San Francisco based artist and curator, Susan O’Malley uses simple and recognizable tools of engagement— making inspirational posters, offering a Pep Talk, distributing flyers in a neighborhood’s mailbox—to offer entry into an understood, and sometimes humorous, interaction of everyday life. Her work strives to create surprising instances of positivity and optimism. O’Malley received her MFA from California College of the Arts’ Social Practice Area, O’Malley has exhibited her work in the Bay Area galleries, including Southern Exposure, Mission 17, and Ping Pong Galley, CCA’s PlaySpace.

Artist’s Statement
I want to have this conversation with you. I am looking for a moment between us, a diversion from our lives so that we can understand each other better. THIS is all part of my process. THIS is part of my practice. You, yes, YOU, are part of it. I have been hanging inspirational posters, giving pep talks, making cupcakes, and organizing artist-in-residency programs. All for art. So that we can share this moment. You have already participated, by being here, right now. At this very moment we are making art: You reading the words here, my voice, and this moment. This IS art! Yes!! We ARE MAKING ART! YAY US!!



Scott Oliver
(Not) This & (Not) That: A self-guided walking tour of Lake Merritt, 2009
Non-archival laser and photographic prints
1–8½×11 inch / 216×279 mm map; 1–8½×11 inch / 216×279 mm (double-sided) map key; 17–4x6 inch / 102×152 mm unique postcards

I am currently producing an audio walking tour for Lake Merritt, so (Not) This & (Not) That can be viewed as a sketch for a work-in-progress. But it does function as a self-guided walking tour on its own terms. And it is meant to be used, as are the postcards. It probably goes without saying, but the tour is highly subjective, not the least because I approached this project as a sculptor. Meaning the tour is meant to be an embodied experience. Though one can certainly construct a mental image of the place using the map, key, and photos, for me the work is contingent upon the recipient of these materials actually going on the tour.

Scott Oliver is a project-based artist and writer living and working in Oakland, California. His work explores the sculptural possibilities of everyday objects and relationships between people and the built environment—often integrating social exchange into the making process. Oliver received his MFA from California College of the Arts in 2005. His work has been exhibited at UCLA in Los Angeles, Pulliam Deffenbaugh Gallery in Portland, Oregon, and Grounds for Sculpture in Hamilton, New Jersey. He has also shown widely at local venues, including the Oakland Museum, Yerba Buena Center for the Arts, San Francisco Arts Commission, Southern Exposure, and the de Young Art Center.

Oliver is currently working on a project entitled Once Upon A Time, Happily Ever After: An Audio Walking Tour of Oakland’s Lake Merritt. His upcoming Project Space Residency at Headlands Center for the Arts begins in September.

Artist’s Statement
Lake Merritt is often referred to as the “Jewel of Oakland.” A faceted gemstone, at once reflective and translucent, is an apt metaphor for the shimmering body of water at the heart of Oakland. But this only hints at the complex relationships that comprise one of the city’s most significant centers of public life. Centrally located and relatively uncommercialized, Lake Merritt and it’s accompanying parks and attractions are a democratic space within the city where the diversity of Oakland’s citizenry is both visible and dynamic. More broadly a multitude of artificial (cultural, economic, political, historical, architectural) and natural (solar, tidal, avian, botanical, meteorological) forces are at play in and around the lake at any given moment. (Not) This & (Not) That explores some of the physical forms these forces take as they converge, overlap, intermingle and coexist. (coming soon)




Laurence Payot
I Though It Was Real (detail), 2009
plaster and paint
0.6×2.7 inches / 1.5×7 cm

A work in progress, I Thought It Was Real is a realist statue of a living statue—a statue of the artist pretending to be a statue. For This & That, the artists submitted one duplicated little finger from the original statue in a box.
I Thought It Was Real is an uncanny piece of artwork that is experienced as part of everyday life, available for anyone to see and experience “by accident” on the street. It will be exhibited in busy city centers across Europe in 2009.
Only when spectators come closer and see imperfections in the cast, or when they realise that the person will never move, that the aesthetic process will start. Something “familiar” will turn “unfamiliar,” causing viewers to question what they see and believe.
As well as investigating the links between the historical and the contemporary, I Thought it Was Real blurs the line between public sculpture, intervention and performance.

I am a French artist based in the North West of England. I work with local, national and international artist groups, galleries and cultural organisations, and co-direct The Royal Standard, Liverpool, where I also have a studio. I have exhibited in a number of successful group and solo exhibitions in England, Scotland, Wales and France, with two recent awards from Arts Council England, and a residency in Libya with the British Council and Liverpool Biennial of Contemporary Art.

Artist’s Statement
The main catalysts for my work are patterns found in everyday life. I ask the viewer to question patterns that have become mundane and almost invisible, by altering them slightly and turning them into something uncanny. My work uses “chameleon techniques”, allowing me to create site-specific work that looks like it has always belonged there. I don’t intend my work to stand out at a first glance, but when a person discovers it, what is revealed is unexpected and disturbing—a small shock or revelation that something has been altered.


pest publications

pest detail

(Rebecca Chesney, Robina Llewellyn & Elaine Speight)
Pest Limited Edition Box Set, 2009
Media Mixed
6.7×9.25×0.8 inches / 17×23.5×2 cm

The Pest limited edition box set contains three signed, numbered and dated artworks by the Pest founders: Rebecca Chesney, Elaine Speight and Robina Llewellyn plus the three Pest issues: Domestic Spaces, Museums and Archives and Social Spaces.

Pest was established in 2007 by Preston (Lancashire UK) based artists Rebecca Chesney, Elaine Speight and Robina Llewellyn to explore how artists appropriate, intervene and work within alternative places, spaces and contexts. Pest undertook a twelve-month research project, through which they visited a large number of artist-run initiatives in the UK, Toronto and Budapest. Their findings informed the production of three publications that examine artist-initiated projects in domestic spaces, in museums and archives and in social spaces. The publications have been made freely available at artist led spaces and galleries throughout the UK.

Artists’ Statements
Rebecca Chesney’s work deals with rural and urban landscapes and how we translate and romanticise them. She is currently working on a research project with Dr Andrew Whitehouse, Anthropology Dept, University of Aberdeen, and at The Weather Station for John Fox on the Cumbrian coast.

Elaine Speight explores issues of place through a curatorial and artistic practice. She is currently working in Preston on the In Certain Places public art programme and on the Wirral for Liverpool Biennial’s Art for Places scheme. She is also studying a practice-based PhD at Birkbeck, University of London.

Robina Llewellyn is an artist working mainly with traditional photographic processes. Her work explores the nature of identity in people and places. She is currently taking part in a photography residency with Lancashire Artists Network and the University of Central Lancashire.


ryan thumbnail

Anthony Ryan
Pattern sample, agri-grid, 2009
Watercolor on paper
8×12 inches / 203×305 mm

I re-worked an earlier screen printing project in rubber stamp. It seemed an appropriate tribute to the medium of mail art.

Anthony Ryan (San Francisco) is a multi-disciplinary artist who received his BFA from Purchase College in 1991 and his MFA from San Francisco State University in 2009. His work has been exhibited nationally including at the deYoung Museum in San Francisco and the International Print Center New York. In 2009 Anthony was a Graduate Fellow at the Headlands Center for the Arts.

Artist’s Statement
In my work I seek to investigate modes of representation and systems of pattern that arise from the historical and process-based nature of print media. An ongoing affinity for decorative sources and forms has led me to examine the use of systems of pattern and repeat. Such systems have led to work that is the result of prescribed parameters and self-imposed limitation. Within these means, I seek to create work that coaxes meaning from process and material.


sherry observation craft

David Sherry
Observation Craft, 2008
5.825×8.25 inches / 148×210 mm

This drawing is an object of war which looks like a toy. I like the playfulness of the model and its use in a conflict.

David Sherry holds and MFA from the Glasgow School of Art and a BA from the University of Ulster at Belfast. He has shown widely across the UK and Europe including solo shows and presentations at the Zoo Art Fair, Mother Tankstation (Dublin), Villa Concordia (Germany), M and M Gallery (Antwerp), Jack Hanley (San Francisco), the Glasgow MOMA and Schnittraum (Cologne). His work has also been seen in group shows such as Futures 50 Axis (Leeds), Beck’s Futures and Gagosian London. Forthcoming shows and residencies include a Bergamo, Italy Gallery project curated by F Vavassori, the Szpilman Award (Istanbul) and an Artist Residency Deveron Arts (Huntly). He is the recipient of numerous grants from the Scottish Arts Council and residencies including the Artists Lab Residency at the CCA Glasgow and NIFCA Residency (Suomenlinna, Finland).

Artist’s Statement
I make drawings, videos and performances. I am interested in actions, communication and activities. I like to make a series of drawings that look at a bombarded consciousness.
I make work that takes a humourous look at serious life.



Daniel Staincliffe
A machine that allows wild animals to trigger their own photographs, 2009
photographic image
12×8 inches / 305×203 mm

A machine that allows wild animals to trigger their own photographs was constructed of pieces of wood, brick, glue and a 35mm camera. This is one of the resulting photographs taken during days of tweaking and re-baiting in the far Northeast of Beijing.
The work was made as part of a residency project with Red Gate Gallery in Beijing, entitled An Urban Ecology of Chance, which was supported by the National Lottery through Arts Council England and The Confucius Institute at The University of Manchester.

Since graduating from Manchester School of Art’s BA Interactive Arts in 2008, Daniel Staincliffe has exhibited with The VAULT Gallery, Lancaster, Startrunning, Manchester and the Contemporary Art Manchester consortium. During April 2009 he was resident with Red Gate Gallery, Beijing. His residency project, An Urban Ecology of Chance, was supported by the National Lottery through Arts Council England and The Confucius Institute at The University of Manchester.

Artist’s Statement
My work explores details of our everyday environments that are overlooked or insignificant, fleeting or peripheral. Conceptual and aleatoric methodologies are employed in order to abdicate total conscious control over the products of my creative practise. Collections of squirrel footprints, salvaged media and dialogue with Shanghaineese passers-by are all examples of my interest in the chance encounter. The re-presentation of everyday entities such as puddles or urban icons like pigeons calls for a re-examination of the known.



Tattfoo Tan
Photopurri, 2009
photo based intervention & collaboration project
dimensions variable

Photopurri is a series of random lifestyle shots by the artist on undeveloped, black-and-white, medium-format film. Thirty-one rolls of film are sent to 31 different artists in This & That International Mail Art Swap, in random order. Instead of only swapping one work with one work, I decided to let each artist have a piece of my work and my life. The fate of each roll is uncertain; I only make part of the work, and the recipient is free to keep the roll or develop the film and realize the images. The recipient also has the power to reproduce the film and make multiple prints, transferring the autonomy of the artist. We both become authors of the artwork.

Artist’s Statement
(New York based) Tattfoo Tan’s art practice seeks to find an immediate, direct, and effective way of exploring issues related to the individual in society through which to collapse the categories of ‘art’ and ‘life’ into one. Through the employment of multiple forms of media and various platforms of presentation, Tattfoo promotes group participation between himself and an ‘audience’. Within this collaborative practice both minds and bodies are engaged in actions that transform the making of art into a ritualized and shared experience. In keeping with the spirit of this transformative act, Tattfoo prefers to develop projects that are ephemeral and conceptual in nature.



Jenifer K Wofford

Žižkov/Durian, 2009
ink on paper
8.5×11 inches / 216×280 mm

Having just moved to Prague, I find that I could give a rat’s ass about most of the typical tourist attractions, and am instead completely consumed by the divine ridiculousness of the Žižkov TV Tower, looming over all of the city’s sober historical loveliness like one last Communist-era joke. It’s sort of a Czech book-end to my longstanding fixation with a gigantic steel durian-fruit sculpture I came across in the middle of nowhere in Gemas, Malaysia: both monuments live in my dreams and in my logic on the same shelf.


Jenifer K Wofford is a Filipina-American artist currently based in Prague. Her creative practice encompasses installation, painting, drawing, photo, video, performance, teaching and curating. Wofford is also 1/3 of the artist trio Mail Order Brides/M.O.B.

Wofford studied at the San Francisco Art Institute and UC Berkeley. She has exhibited locally at the Berkeley Art Museum, Yerba Buena Center for the Arts, Southern Exposure and Kearny Street Workshop, nationally at New Image Art (Los Angeles), Nora Eccles Harrison Museum (Salt Lake City), thirtynine hotel (Honolulu), and internationally at Future Prospects (Philippines), and Osage Gallery Kwun Tong (Hong Kong).

Wofford’s awards include grants from the Fleishhacker Foundation, Art Matters Foundation, UCIRA, and the Pacific Rim Research Program, and artist residencies at Solyst AIR Center, Denmark, The Living Room, Philippines, and Chateau de la Napoule, France. Wofford is the lead organizer of the Galleon Trade Arts Exchange Project.

Artist’s Statement

Happily, my practice takes many forms, often combining installation, sculpture, painting, performance, and/or video. I try to make work that is irreverent, honest, interior, and still somehow social, employing as many strategies as seem appropriate. It’s a process anchored in drawing, which is the most immediate way that I can initiate and illustrate these investigations. The themes that compel me are generally at once political, imaginative and visual: my work frequently addresses intercultural exchange, often playing with notions of culture, difference, liminality or authenticity.

Much of this is the result of a bi-cultural family (Filipino/American), a third-culture upbringing in Hong Kong, the UAE and Malaysia, and an adulthood in liberal, diverse California. I am committed to a practice that engages voices often unheard or under-represented in the arts. While big portions of every project are of course solitary endeavors, I really don’t consider myself an artist in isolation: the most satisfying work I’ve done involves exchange, joking, and cooperation. It makes things more relevant, and more fun, immediately.




book of sleep, 2008
5.3×5.1 inches / 13.5×13 cm
Edition of 5 + 2 AP

The work, from the collection of photographs taken by the artist, has chosen the structure of books on a shelf, encouraging extended contemplation and exploration that only a library offers. The viewer is asked to engage with the images to constuct a narrative and meaning. I selected one book from thoughts collected, recollected to mail for This & That. thoughts collected, recollected asks the viewer to probe, to consider, to investigate and to participate.

MM Yu received her BFA (majoring in painting) from the University of the Philippines College of Fine Arts in 2001. An artist who swings between abstract painitng and photography, her street images won her the 2007 Ateneo Art Award with the exhibition entitled thoughts collected, recollected, an installation of photobooks posing as sculptures on a shelf. Yu has participated in the Big Sky Mind’s 18th Avenue Artist Compound Residency in 2003 and in numerous group exhibitions since 1998.