Highlights

But really there is no ideal man then?, 2020 by Sarah Hardacre

Paper collage: digital print of an archive photograph, magazine cutting, G.F. Smith Colorplan Mandarin 180gsm paper.
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Blackburn Shopping Centre and Town Hall Tower (now demolished/redeveloped) 1966-1972. Architects: Building Design Partnership.
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Image from the Cotton Town digital archive: ‘A view of the shopping centre from King William Street before it was pedestrianised. Town Hall Tower Block and Clock Tower are both shown. Date of the photograph is 1970s.’
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Penthouse, Vol. 8 No. 2, 1973
Model: Linda Diane

Autopsy of A Home, 2020 by Omid Asadi

2020, Installation, 5m x 6m x 4m

Autopsy of a Home explores domestic space as a kind of heterotopia, an “other place” shaped through memory, distance and adaptation. The work reflects how migrant homes often become spaces where one tries to remain connected to what was left behind while gradually absorbing the unfamiliar textures of a new environment. Shifting light within the installation, where colour changes were triggered by calls or messages from family and friends (from blue light to yellow). These subtle transformations suggest the emotional ebb and flow between presence and absence, intimacy and distance, through which ideas of home remain unstable and continually renegotiated.

Confessional Spaces~Spatial-Situationist Apparatuses : A Line of Flight, Vessel, Sculpture or Fiction, 2024 - 2025 by Russell Moreton

Study Spaces~Research Creation : Seating with Cabins

In troubled times they all sought to experience life away from social definitions of success or failure. From there, these primitive huts marked personal, original inquires into the ever-mysterious nature of human existence.

Anne Cline. A Hut of One’s Own

Life Outside The Circle Of Architecture.

Clay-Ceramic/Thinking Architectures/Interior Places. 2024

The Scriptorium began through a research of both architectural themed texts and documentation of the site, and creative practice involving photography (digital, analogue and film) art practices of collage and drawing. The many visits promoted my own subjectivities to the site and these were also frequently subjected to change by the intervention of others in unexpected ways, these social intrusions by other revealed the very boundaries that the historic site engenders, some playful other malicious. These extremities within the social order of the visitors became problematic in designing for the site itself. An earlier proposal to host a Symposium centred on the Arts and The Humanities, that would use the Abbey and its surrounding ground appeared to be a project of vast diversities and logistics better suited to a cultural project through arts management and funding. As the project developed certain creative methodologies around particularities of the site itself began to appear, the notion of palimpsest being one of them. This promoted the idea of a reading room, as an ephemeral interior space that gathers up the experiential values of ‘ruins’ and re-enacts them as a site to explore the architectures of images. It became apparent that ‘palimpsest’ could be both a visual surface of erasures, earlier markings partially over written by newer ones ‘annotations’ and it could be a scaffold of developing ideas clearly visible merging as adaptations into the very usage of the site.

Architectures of Failure, 2025 by Hera Santos

Architectures of Failure (2025), developed for The Flip Side of the Coin and presented at Chemist Gallery, extends this inquiry into the spatial and institutional conditions that shape access, visibility, and belonging. Working across performance and installation, the project examines how bodies are disciplined through architectural design and bureaucratic systems, using the bathroom and the gallery as sites where care and control intersect. A domestic bathroom becomes a threshold space where private acts of self-maintenance are rendered visible yet inaccessible, mirroring the contemporary policing of trans bodies and the slow violence of exclusion embedded in everyday infrastructures. In the gallery, a toilet physically chained to my body materialises the psychological and material constraints of gendered and institutional categorisation. Through durational action, audience participation, and acts of blockage and rupture, the work stages refusal as a method proposing failure as a generative strategy for reimagining autonomy, care, and collective responsibility. The work unfolded as a two-hour performance and installation.

Duration: 2 hours