discover (v.) c.

1300, "divulge, reveal,

disclose," from Old French descovrir
"uncover, unroof, unveil, reveal, betray,"
from Late Latin discooperire, from Latin dis-
"opposite of"+ cooperire "to cover up". At
first with a sense of betrayal or malicious
exposure (discoverer originally meant
"informant"); the meaning "to obtain
knowledge or sight of what was not known"
is from the 1550s.
 Between you and me
2017
Unfired clay, ink, fabric and wood
Alex Simpson

In a vitrine lies a collection of ceramic fragments, half

concealed beneath a layer of diaphanous material. The
veiled nature of these seemingly found objects reflects the
often ambiguous aspect of discovery, interpretation and
relationships between things.
 Cloud Mirrors
Glass, silver and lead
Tom Palmer

Tom Palmer's work explores a continued fascination with

natural systems, phenomena and the ephemeral. Thesehe
attempts to capture in materials which are often
profoundly unnatural and industrial in nature. He
combines these elements under conditions that force them
to react with one another, in order to generate often
unexpected and uncontrived results; a practice that is
always on the very edge of success or failure.
 Cloud Totem
Apophenia series, 2015
Powdered charcoal, resin and wood
Guy Haddon Grant

Apophenia: the spontaneous perception of connections

and meaningfulness of unrelated phenomena. The Cloud
Totems and Soot drawings are intended to work as
Rorschach ink blots - matt black, an inky silhouette.A
looming cloud frozen/paused mid gaze.

Patterns within patterns, a play between positive and

negative space, form and void.The viewer is invited to read
and interpret, to create the reality, the meaning, the
conception of the pieces.
 Conception
2015
Marble
Alice Cunningham

Alice Cunningham chose a piece of marble that had a

sense of embodied movement (relating to the process of
how marble forms under intense heat and pressure)
implied in its natural very textured surface.

To create a sensitive surface or shape in the stone is an

endeavour that requires
real sensitivity, intuition and engagement. This is a
challenge and testimony to what a human touch thinks it
can bring to an already beautiful natural material.
Cunningham doesnt want to impose a form on something
unless it speaks and reflects on the material itself. It seems
futile to create another static, complete object unless it
really achieves a provocation and continues or encourages
a dialogue involving the material.
 Conjunction
2017
Plaster, pigment, wax, wood
Isobel Church

Two architectural niches stand and face each other, inviting

the viewer to pass between them. On the interior of one is
a relief cast from recent imagery of the gaseous surface of
Jupiter, on the other the jagged terrain of Venus. Perhaps a
relic of a bygone civilisation, the standing figures hint at a
ritualistic purpose devoted to astronomical landscapes, as
in menhirs of prehistory.

The title Conjunction refers to the occurrence of two

astronomical objects appearing to meet when observed
from Earth, a temporary alignment of celestial longitudes.
In August of last year, Venus and Jupiter came as close as
four arcminutes, an exceptional conjunction not to be
repeated until 2065.
 Containment, one and three clay
2012
Tana West

London clay with sprigged string detail, based on a

Wedgwood table decoration Tana West found in the V&A
transferred from the now closed Museum of Practical
Geology

An investigation of the geological location for the raw

materials contained within a museum object. Using that
information West substituted materials to change its
geographical context, using London clay and chalk pebbles
found on the Thames foreshore she made her own ceramic
object.
 Dark Matter Series
2015
Bitumen
Julie Mecoli

The Dark Matter series of sculptures exploit bitumens

property of creep, moving and changing form over time in
a process that is irreversible. One moment theres a
bitumen London, Detroit or contemporary city in a dome,
the next, theyre distorted or disappearing into a pool of
pitch. Some move in minutes, others in decades. Change is
constant.

The sculptures use the language and form of science and

the past: wood, brass and glass, an hourglass and bell jar,
funnel and beaker. They refer in part to human impact on
the natural world and its unintended consequences. As
natural resources are used up, societies as we know them
will collapse. The pieces contain and shape but they
ultimately do not control their bitumen contents.
 The Departed
Plaster
Sorsha Galvin

Traces of the body, left behind in space and time, traversing

between the physical and the metaphysical. The Departed
imagines a window into a parallel world.
 Ether
Resin, persex , MDF
Tom Palmer

Tom Palmer's work explores a continued fascination with

natural systems, phenomena and the ephemeral. Thesehe
attempts to capture in materials which are often
profoundly unnatural and industrial in nature. He
combines these elements under conditions that force them
to react with one another, in order to generate often
unexpected and uncontrived results; a practice that is
always on the very edge of success or failure.
 Gut Feelings
2016
Clay, indian ink and plaster bat
Alex Simpson

Tucked into a corner lies a mysterious object, part organic

matter, part relic. Exploiting the tactile qualities of clay and
ink, Simpson has created an object that defies
classification, hovering at the edge of our understanding.
"
 Light Fossils
2015
Burn on mylar
Sarah Casey

Cosmologists speak of 'light fossils', traces of old light

etched into the fabric of our cosmos which act as clues to
the physical processes that shaped the universe we know
today. By the time this 'light information' reaches us the
event or material it describes is long obsolete.

Correspondingly the work Light Fossil is made by shadow,

an indirect impression of an absent presence. Burnt into
translucent film, the light passes through onto the wall, an
immaterial echo of a material presence. Light Fossils were
made through the Science in Culture project, Dark
Matters, through which an artist, theoretical cosmologist
and anthropologist of science came together to explore the
theme of 'Thresholds of (Im)perceptibility'.
 Observation for Projection 1
2008
Site specific projection, looped
Darshana Vora

Recording the human pyramids of Dahi Handi celebrated

in Mumbai from this birds eye view and the installation of
it create a dis-association from the original context of the
activity.

This distance lends itself to a viewing based on whatever

associations the viewer brings to it. Hence projection in
this instance of the title is used to clarify how
interpretations of what is seen are largely based on
projected information, and therefore relative.
 O-scope (Spooky and Wild)
2015
Steel, copper, gold plated detector wire, thread,
neodymium magnets, wood
Alison Gill

O-scope (Spooky and Wild) is a variant of a much larger work

Detector (Kissing Gate), (2013) which responded to her
research at CERN. Both works play on a dialogue between
metaphysical discourse and contemporary physics.

Gold detector wire, finer that a human hair (used in CMS

CERN detector), has been woven through the central ring
of the sculpture with sewing thread to complete a
mathematical thirteen-point mandala-like formation
known as a mystic rose. The sculpture can be rotated on an
axis poised between a magnetic force-field. If the ring is
gently turned it will slow down over time and then oscillate
at an increasing speed returning finally to a static state.
 Siren
2017
Bronze, jesmonite, pigment, wood
Isobel Church

On the interior of a bronze singing bowl a turbulent storm

is cast in relief, with a central eye. NASA aerial imagery of
hurricane Daniel as it passed over the Central Pacific
Ocean has been translated into a solid material,
transforming a familiar object of ritual.

The title Siren refers to both the maritime warning siren

and the Greek mythological creatures, half woman and half
bird, that were said to lure sailors into storms with the
haunting beauty of their song.
 Surrender
2014
Bronze
Sorsha Galvin

This relic reveals itself to us gradually, as if we are

discovering the contents of an ancient tomb. It is the body
preserved in a final but peaceful gesture. Galvin's processes
include the partial burial of her body in clay and the
careful excavation of resultant cast forms. It is in this
transformation that new meaning is unearthed.
 Waves
2017
Recycled metal
John McDonald

Moving like the surface of the sea, time sags and collapses
into bottomless holes of the unknown. Inspired by seen
and unseen forces of nature, Waves undulates flexes curves
twists, wave after wave ripple along the shores of space.
They are straining then accelerating, flying inside out
stacked and fused heated by expansion particles of matter.

A vision of gravity maybe not in any precise place amid the

infinite arabesques of forms. Internal stresses conspire to
push and pull its form while its previous incarnations
reorganise, asking questions. Shimmering slots of light
breaking into the void mirror the heavens. Nature is our
home and we are at home in nature.
Installation Images