The Arts Development Team looks forward to welcoming Rising to The Control Room as soon as permission has been granted to access the building. The residency is currently on hold due to necessary maintenance. Rising Artists will each produce work and invite a collaborating artist to respond. The Control Room is set to be a hive of creativity and visual delights for the public.


Aoife Barrett and Monika Rycerz from Unit 10, Bedminster and their three month project ‘Threshold’ is a creative collaboration with homeless charity, St Mungo’s. A month of print workshops and story sharing with the residents will culminate in a fantastic public event. Visit The LShed on the 2nd July and see the 6 foot lino blocks printed using a 12 tonne road roller! Resulting art works surrounding the theme of “Impressions of Your City”, will take pride of place in The Control Room, for all to see. Unit 10 artists Aoife and Monika will be producing and installing art works in response to the suspended prints. This fantastic project will explore transitions, new possibilities and social engagement and the work will be on show at The Control Room between 3rd July – 27th August.  An auction of the relief prints will raise money for St Mungo’s and their fantastic charity. Read more about the event here


Threshold: From Behind the Scenes
The Big Print Day, 2nd July 2016

By Aoife Barrett

The Road Roller Print event had been a long time in the planning, with all aspects thought out (as thoroughly as possible), the volunteers gathered, the health and safety forms checked. Even so, there is a large area of uncertainty when it comes to a three tonne road roller, a 6ft long block of lino and a whole load of crossed fingers.

Throughout the month of June Unit10 and St. Mungo’s were busy creating a series of large-scale relief prints about the changing landscapes the people at St. Mungo’s have witnessed and their impressions of Bristol city.

We should really admit we were completely unsure of how the day would go. The event was set to take place at 11am, so it was fantastic to see that the majority of volunteers and participants were there at 10am to help get ready. Everyone seemed so enthusiastic about the day, and there was a strong atmosphere of anticipation, as the hard work of our weeks of collaboration would finally come to a head. No one had seen what the prints would look like, and from experience, there is a huge difference from a carved block of lino and what it looks like when it has been ‘inked up’.

To warm ourselves up (metaphorically, as the weather was definitely on our side for once) we began by printing a text monoprint of the project’s title. And it printed! Not amazingly, but the first one never is. Stage 1 complete – now to get on with the real deal. By this point – it has to be noted that a crowd was most definitely forming, so it really was a nerve-racking moment.

The wonderful group of volunteers, printmakers and participants from St. Mungo’s carefully hand-inked the long stretch of lino. You have to remember just how much work went into this from everyone involved, a real team effort, at points cutting on our hands and knees with tiny cutting tools, this design had been formed by every single person involved. Then came the moment of truth. I think we held our breath the whole time the roller was reversing. As the group lifted the paper off of the block the crowd let out a cheer, it had worked! And it looked great – even if I do say so myself.
So we printed, and then we printed some more, and more. We even got members of the public involved to print some large monoprints.

Nick Hand from the Letterpress collective made an appearance with his bike printing press, his postcards raised a fantastic amount for the charity and his presence was greatly appreciated.

To top off a fantastic day, M-shed volunteers organised a ride for everyone involved in the project- on the steam train. Everyone piled on, laughing loudly and making jokes together, it felt like a school trip. We’d like to thank everyone for making the whole event possible from Churngolds and CP Hire who provided us with a road roller at the last minute and a lovely driver; the M-shed staff and volunteers who gave us the venue; Spike Print Studio, Cass Art, UWE, Shepherds and Intaglio Printmakers who helped us with the materials; all the printers who came down for the event and made our day stress free, and especially to the participants at St. Mungo’s who really shone all the way through the project.

St. Mungo’s Comments:
Last weekend (2nd July) Jayne and five other clients from the Recovery College in Bristol teamed up with Untit10 Artists to create some unique print pieces. This final project was the result of a creative collaboration which saw a month of print workshops and story sharing.
Using a 3 tonne road roller, the group were able to create intricate designs on 6 foot lino blocks around the theme of “Impressions of Your City”. Their art was then displayed in The Control Room and will be until 27 August when each piece will be auctioned off to raise money for St Mungo’s.
Here’s what our other clients had to say about the event:
“It was a great atmosphere in the M Shed. I helped cut out the lino and to design the two trees that formed the main frame of the finished piece.”
“It was very interesting and great to meet new people. Our volunteers and clients worked really hard.”
“It was really interesting to use 3 tonne road roller, it was a different take on lino printing.”
We’re so proud of our clients and the wonderful art they have created. We can’t wait to see what else they will come up with.
Participating Artists from St. Mungo’s:
Jayne Porter
Sarah Chamberlain
Rob Sprackland
Rico Sheedy
Pete Tuby
Ricardo Da Cruz
Phil Goble
Nick Britton


The Big Print Day

“The Bristol Arts Development’s ‘Threshold’ project was brilliant with everyone getting involved. Lots of children joined us at the M Shed.”

Last weekend (2-3 July) Jayne and five other clients from the Recovery College in Bristol teamed up with Unit10 Artists to create some unique print pieces. This final project was the result of a creative collaboration which saw a month of print workshops and story sharing.

Using a 12 tonne steam roller, the group were able to create intricate designs on 6 foot lino blocks around the theme of “Impressions of Your City”. Their art was then displayed in The Control Room and will be until 27 August when each piece will be auctioned off to raise money for St Mungo’s.

Here’s what our other clients had to say about the event:

“It was a great atmosphere in the M Shed. I helped cut out the lino and to design the two trees that formed the main frame of the finished piece.”

“It was very interesting and great to meet new people. Our volunteers and clients worked really hard.”

“It was really interesting to use 12 tonne road roller, it was a different take on lino printing.”

Week 2: Getting Our Ideas Together
By Aoife Barrett
We spent the second week of the project getting our ideas together and mapping out the images on the lino. There were some fantastic ideas put out on the table. Everybody wanted to represent a different element of Bristol in the print, from its industrial past to Bristol’s connection with nature through its many parks. They also wanted to show what a diverse place Bristol is. This can be seen in our group alone; between us all we come from so many different places, we all have different backgrounds, different ages and have all gotten something different from Bristol.

In the end the group agreed on a drawing made by Sarah, one of the artists from St. Mungo’s. The drawing is of two trees with the river running through them and a boat sailing off in the distance. This was to be the key image that other ideas and images would be built around. It was decided that the 6ft x 3ft blocks of lino weren’t actually big enough so two blocks were pushed together and the image was drawn over the two of them! You’ll find no lack of ambition here!

This original image was chosen because everyone saw a different element of Bristol in it. It reminded one person of the River Avon coming into Bristol. Sarah, said it was her interpretation of the Bristol to Bath cycle track with the trees creating a canopy over the path. Someone else said they saw the branches of the trees as hands creating an enclosure or safe place. Another person saw the boat in the center as a symbol of Bristol’s history as a port city and its industry and trade. It also brought to mind ideas of adventure, exploration and new possibilities, the three key elements that everyone agreed Bristol was full of!


No shortage of ideas!

Two becomes one!

It didn’t take long before everyone started filling in the branches of the trees with text and images of what Bristol is to them. We had rock climbers, planes, trains, boats, Bristol’s wildlife, tourists, the lot! The image grew into a hub of activity, all tied together by the roots of history! It became a wonderful example of what team work can do with everyone bring something exciting to the table.

Meanwhile, outside the studio preparations for the big print day were underway! Our original plans for the steam roller fell. For a while there it was looking like there would be no road roller printing in Bristol this summer. But thankfully the wonderful staff at the MShed came to our rescue. They told Churngold and CP Hire all about our project and very generously they have offered us a road roller for the day! Just like that, we were up and running again. Full steam ahead!

The LShed Tour

The project really kicked off when we had a behind the scenes tour of the wonderful treasures housed in the LShed, the adjoining stores to the MShed.   Six participants from St. Mungo’s and Unit 10 artists, Aoife Barrett and Monika Rycerz were shown around the collection by Lee Hutchinson.

Like Unit 10’s other project the focus for this one is on skill-sharing, bridging gaps and creating opportunities for social interaction. Having the opportunity to get out of the studio and see the physical evidence of Bristol’s history and hear the stories behind them told by experts was an ideal starting point.   The tour was a real eye opener to the importance of understanding and appreciating our history.  It helped to put the project and some of the earlier discussed ideas in context.

The group loved the ‘Cabinet of Curiosities’ feeling that goes with the LShed. They felt like they were uncovering hidden parts of Bristol and discovering “the odd things about Bristol”, from the beautiful collection of various road and advertisement signs to the great big wheels of industry.  The tour really showed the importance of objects in bringing history to life and personalising it.  This interaction shed a light on new ideas and possibilities for many of the group. Certain statues and objects from forgotten people opened up conversations on Bristol’s prejudices; one person uncovered past and present images of the Lead Shot Tower and saw it as a metaphor for how St. Mungo’s is growing and re-building lives; another person mentioned how the old bikes show that people and ideas have evolved.

Back in the studio the experience of the LShed and seeing this new side of Bristol became a great source of inspiration when mapping out ideas on the lino blocks. Everyone was really interested in how cities, people and ideas evolve. Also a lot of the feelings and thoughts were that with Bristol you never know what you are going to find.  This sense of adventure and opportunity was something everyone agreed they would like to convey in their artworks.

Project Updates, Week1:

Our First Encounter

The project started off with an initial meeting at St. Mungo’s where the group first met and we got to know each other. We have a wonderfully diverse group made up of people of all ages and backgrounds.  Everybody has something different to bring to the table from project managing skills, illustration and drawing skills to endless knowledge of Bristol’s history.

For this first meeting we had an introductory session where we talked about various printmaking techniques and the wonderfully diverse ways printmaking can be used as a tool for communication.   We explored the history of relief print and how other artists, past and present have used it to express themselves. We then discussed the ideas and themes of the project.   We looked at the history of the Control Room and how it can be seen as a symbol of the port city and trade routes Bristol was once part of. Bristol as a port city was a liminal space, a point of transition between home and the unknown and the Control Room can almost be seen as a gateway to the city.

We talked about the plan for the project to reflect the lives of the people at St. Mungo’s and everybody shared their experiences of Bristol and living here.   Most people mentioned that they saw Bristol as a place of opportunity, adventure and experiences.    Rob, the walking encyclopaedia in the group, told numerous stories of Bristol’s history and how parts of the city had evolved in such wonderful ways over time.   He saw this idea of evolution as something that really summed up what was happening in St. Mungo’s.

In the studio In the studio2

Brainstorming ideas at St. Mungo’s


The earliest form of Printmaking, c.40,000 BCE


Swoon (1978), wall pasted relief prints and paper cut outs


Erich Heckel (1883-1970), relief print



KC_Zero Landscape

Zero Landscape

Katy Connor

18th-25th January 2016

Katy Connor explores the interplay of vast and microscopic, through a series of digital works that consider the body’s spatial positioning by both medical and geo-locational technologies.

Katy Connor is a contemporary media artist whose practice explores the poetic threshold between digital and physical form. Continually drawn towards the ambiguous relationship between body and machine, she investigates how our lives are mediated by technologies, in a dynamic both alienating and empowering.

Connor’s current work explores processes of translation, through microscopy, modeling and 3D print; prompted by images of her blood seen through an Atomic Force Microscope, which resemble satellite vistas over distant terrain.

Connor has undertaken artist residencies in the remote Scottish Highlands and science and engineering labs. In October (2015) she travelled to the High Arctic to develop her research into imaginative, interior geographies of the body.

Recent exhibitions include Transmediale, Berlin (2013) the Lumen Prize New York, London and Hong Kong (2013) and CONTACT/SURFACE, Exeter (2015). Connor is a PhD candidate at the Centre for Experimental Media Research, Bournemouth University.


These screenings will run parallel to an exhibition of sculptural objects and print works at Spike Island Test Space (16 January to 7 February 2016).

Rachel Smith Poster 1

Weimar Zwei

Rachel Smith

6th- 11th January 2016

For one week, the Control Room will inhabit a chaotic, machinery-filled lab, overflowing with wires and strange alien/human artefacts. Based upon the set of a short science fiction film made by the artist (and shown on loop within the space), the installation focusses on the problems of deciphering an unknown language. The installation features various attempts by the ‘aliens’ at interpreting a message from Weimar, Germany, where the artist is currently studying, reaching bizarre conclusions along the way. Heavily inspired by the traps fallen into by humans in the past while decoding ancient texts, the aliens seek answers using only mathematics and combinatorics, relying fully on their machines for answers.


Tunnel Vision

Oliver White

16th- 22nd December 2015

Tunnel Vision is caused by being hypnotised into singular thought. We all know the feeling of intense focus separating us from our surroundings, but what if you could experience that way of thinking from multiple perspectives? This installation aims to hypnotise the audience into making an assumption of what is coming, only to find that it isn’t what they expected. Movement sensors are aware of approaching participants, moulding the experience for that momentary audience. But tunnel vision is never what you expect, you don’t know you are there until you get away.

Website & Social Links

Lost; Found; Lost Again poster

Lost; Found; Lost Again

Emily Nash

Pause Collective

10th- 15th December 2015

Pause is a collective of three fine artists from Falmouth, now based in Bristol. We hope to give voice to quieter works that allow the audience a reflective space to immerse themselves in. We are interested in making work that does not impose itself on the viewer, but instead provides a place for reflection.

Lost; Found; Lost Again is the first in a series of exhibitions that Pause will be hosting across Bristol. It shows a piece by Emily Naish that follows the plight of a bee caught at sea. After absent-mindedly pocketing a bee one summer, Emily found herself becoming a collector of bees, quite by accident. At that time, the sea was something influential to her practice, having spent three years living in a town saturated in nautical nostalgia. So there was, for a time, the sea and these bees; one so huge and engulfing, and one so tiny and easily forgotten. In the end, the sea won the battle, and the bees fell out of her practice.

However, when she later revisited the ideas, she wondered what might happen if a bee, so delicate and fragile, was pitted against something so huge and raging. Of course the sea would swallow that bee in a moment, but perhaps, in our minds, there might be that hope at least that it might not be lost. Maybe we wait for a moment with bated breath, just in case.

For more information about Pause Collective, you can visit our website and follow us on twitter @pausecollective. To find out about Emily’s work, you can follow her on twitter @emily_naish

Janine Partington Evergreen Control Room


Janine Partington

3 – 7 December 2015

Evergreen – a paper cut installation

Janine has created scalpel cut line drawings that explore the ideas of the transparent, the transitory and the handmade.


twitter: @vitreousenamels

Exhibition poster - tilly worth p

Safe Space

Tilly Worth

25th November- 1st December 2015

‘Tilly’s work takes inspiration from her everyday surroundings, as she explores the way our environment changes over time. The physical nature of derelict spaces fascinates her, as she looks at how buildings and areas in our habitats become abandoned and forgotten. Through drawing, she hopes to create physical memories of the places she visits, as they constantly change through development and progression.


Alongside this, Tilly looks at the relationship between digital and hand made techniques in her work, and enjoys experimenting with traditional methods of printing and drawing. This can be seen as a reflection of her interest in our surroundings, focusing on the contrast between man made cities and nature.’


Website –

Twitter –

Facebook –



Homemade Film Festival

films screened- 12-14th November 5pm-8pm

Three silent films shown in a glass house on a bridge over a river.

This November, as the city goes dark, HomeMade Film festival invite you to peer inside the control room – an anti-space where private become public. Three video works, by Bristol-based filmmakers, will illuminate the bridge and explore what goes on behind the twitching curtains. OBSERVASTORY will examine curiosity, indulge voyeurism and ask – what experiences do we share with strangers on the street, what private spaces do we hold sacred and when observed what do we want to keep hidden?

OBSERVASTORY will run for three nights from 12th-14th November between 5 – 8 pm. Join us on Friday 13th Novemember at 7pm for a special live music performance to accompany the installation as well as a few surprises! 

Homemade Film Festival is a Bristol-based cinema collective focused on nurturing and bringing together fledgling filmmakers, animators and creative cinema buffs alike. After the success of their first event ‘BODILY’ which took place at Hotwells’ Grainbarge earlier this year, HMFF are excited to reveal their next project this coming November and look forward to seeing you there.

Landscape_Poster- re size


Peter Bobby

30th October- 5th November 2015

The film will run from 5pm-11pm every evening

Strip, 2015

HD Video, 08:50min (loop)

Strip, a new video work by artist Peter Bobby consists of a single shot, looped repeatedly to create a continuous back and forth movement across the screen. Although looking at a section of a bridge, it bears close resemblance to a strip of analogue film running through a projector. Interestingly, the bridge it documents, Newport’s important Transporter Bridge, was opened in 1906 coinciding with the early years of film, specifically silent movies and the picture house, and particular experimentation in the medium with both camera movement and duration.

This piece continues Bobby’s interest in the relationship between photography and moving image by creating video works that observe simple mechanical acts, resulting in gallery-based or site-specific installations that use the selected subject matter to open up broader discussions around architecture and technology and the devises and methods used to record it.

Shown for the first time in this bridge Control Room, Strip asks us to consider our passage through and across, and the specific movements that enable these acts to be possible. The installation of this piece in this specific location also serves to reinforce the works questioning of the role film and photography have played in the recording of our industrial heritage.

Peter Bobby (b. Oxford, 1975) is a Bristol-based artist based at Spike Island and Senior Lecturer in Photography at the University of South Wales where he is also a member of the eCPR (European Centre for Photographic Research).



A Fleeting Moment

By Sophie Cooper

21st – 28th October 2015

Sophie’s whispers of drawings will grow across the windows of the space, a place of quiet amongst the bustle of noise. She is interested in how the Control Room operates as a visible space for the public to peer into, yet they cannot enter. It is an isolated space, so public yet so private.

For a large portion of the project the piece will be a performance, Sophie isolating herself to the confines of the control room as the painting expands. The containment of the art in its controlled borders will dance across the windows; a methodical drawing breaking its formula to take on new shapes and evolve.

Sophie’s detailed drawings are influenced from the intricacies found in nature, transforming into a new visual language. This week long installation will speak of an ephemeral quality, echoing the impermanence of natural forms and the fragile nature of time.

The Control Room space in sight yet out of reach, much like the fleeting moments that escape us.




Twitter: @sophieerin_ 


Material / Control

By Hoyle, Kelsall & Krainc

14 – 20th October 2015

Private View Monday 19th October, 6pm

Three Bristol based artists will spend one week working in the Control Room, responding to the building and each other’s work following these parameters:

  • On leaving the space each day, anything made or left belongs to Material / Control

  • Each edit must reference the space, its content, and/or it’s environment

  • Make new connections between objects, images and works

  • Add or remove

  • Nothing will be permanent

  • Nothing will remain unchanged

For more information and artist profiles visit:


The IncrEdible Exhibition

By Incredible Edible Bristol

6 – 13th October 2015

Incredible Edible Bristol will be highlighting the amazing abundance of locally grown fruit and vegetables through photographs and produce itself in this great space curated by Bristol’s Art Team. We look forward to highlighting local growing groups and businesses and showing the wonders of what is produced within Bristol as well as looking at our own Collaborative Bristol 2015 project, The Urban growing Trail, highlighting the food growing spaces that have been added to the trail throughout the year, and looking at ways everyone in the city can get involved.


Installation by the Quay Brothers

27th August – 18th September 2015

As part of this year’s Bristol Festival of Puppetry, The Quay Brothers have created a unique installation for the Redcliffe Bascule Bridge Control Room. Passersby will have the opportunity to peer through windows of this disused room, once a critical space in Bristol’s commercial shipping heyday, and discover a landscape upturned in a moment of convulsion. This installation is a rare opportunity for the public to explore the Quays’ puppetry and visual language outside the context of their films.

The work of The Quay Brothers is amongst the most unique and influential of stop-motion filmmakers in recent times. The Quays’ body of work includes commercial production, such as advertising and music videos. However, they are best known for their portfolio of independent artwork, including feature-length films, stop motion animated shorts, installations and theatrical design. Influenced by the European avant-garde and drawing inspiration from literature and visual arts, their dream-like and abstract film-work features worlds that are more suggestive of highly stylised theatrical spaces than natural environments.



The making of A Sequence of Adjustments

The creation and viewing of a short dance film
13th – 18th August 2015

The Control Room will become a space for the creation of a short dance film, A Sequence of Adjustments. The film explores the subtleties of movement, vision and construction with the final film being accessible to people with visual impairment through the use of audio description.

The Control Room will be inhabited by two professional dancers and a dance filmmaker for two days – following a creative residency in July at Swindon Dance. Viewers will have an opportunity to watch us work on the 14th & 15th of August. Following the two days of filming there will be a video installation presenting excerpts of the footage captured
until the 18th August.

View Trailer

Lucie’s Website


Dance village poster


A group exhibition
5th – 10th August 2015

Inspired by bell ringing, Campanology is a collaboration between five artists from a multitude of disciplines. It incorporates a wide range of practices, from fine art printmaking, traditional casting and contemporary design . This installation will interact with the local surroundings, the church of St Mary Redcliffe and influenced by cuckoo clocks, it will come to life when the church bells chime.

To see a video from the exhibition click here.

Artists Involved:


Somewhereto_ July Takeover at the Control Room

2nd July – 2nd August

Vivarium poster (2)


by Laura Porter & Kim Taylor
23rd – 30th June 2015

The control room plays host to a variety of juxtaposing ecosystems containing states of life and death. A space of observation, reflection, balance and control, set within the semi-circular glass room of Redcliffe Bridge.

Working side-by-side since meeting at Middlesex University, Taylor and Porter’s work parallels one another’s individual practices. Having both left London with 1st Class degrees in Fine Art, Kim came to Bristol to work with Studio Upstairs, and exhibited in Arts Trail and OPEN Studio Upstairs. Laura had a solo exhibition in Eastbourne’s Curious Gallery, and was part of Collyer Bristow Graduate Award in London and the Bentliff Art Prize in Maidstone. Having both recently completed an artist residency in a listed building in Tottenham, they have come together again to continue explorations into site specific installation and sculpture.



Nearly Everything

by Feilden Clegg Bradley Studios
9th – 18th June 2015

“If I had to show a foreigner one English city and one only, to give him a balanced idea of English architecture, I should take him to Bristol, which has developed in all directions, and where nearly everything has happened.”
– Sir John Summerson

‘Nearly Everything’ is a site-specific installation by Feilden Clegg Bradley Studios that celebrates the unique atmosphere of urban Bristol through an exploration of colour, light, projection, reflection and opacity – a love letter to the city’s eccentric history, and an ambition for its vibrant future.

Feilden Clegg Bradley Studios are an award-winning architectural practice with an international reputation for design quality, for pioneering environmental expertise, and a progressive and innovative approach. Based in the south-west the team has a deep affection for the city of Bristol, its heritage and its architecture. We enjoy exploring the themes of our work by inhabiting urban and historic spaces with sculpture and installation, collaborating with artists, academics and theatre performers to provoke enquiring and playful debate about the cities that we inhabit.

To check out more photos and a time lapse film from ‘Nearly Everything’ go to the Feilden Clegg Bradley Studios Website, and keep up to date with what they’re up to on Twitter @FCBStudios.


by Oliver White

27th May – 3rd June 2015

ALP is just like any other curious being, it wants to observe, learn and play. But in order to play it needs participants. It waits patiently for its next playmate to come along, trying to gain their attention and interest. Sadly things don’t always work out for ALP but its persistence is its charm, practising long into the night hoping for that special moment to arrive and bring everyone together in unison.

ALP is my imagining of a sort of caged being that is trying to fit in and interact with those around them. It uses projections to indicate its movement and sensors to track the participants, making for a playful exchange between both parties. This is my first venture as a solo artist and I hope people can have their moment with ALP.

Watch the video from ALP here.


curated by Somewhereto_

2nd – 22nd May 2015

Somewhereto_ ’FRAMED’ Bristol is an arts exhibition-trail project, providing free opportunities for young artists to hang work in one of many independent café and shop windows across Bristol as part of a city-wide exhibition trail and, more widely, one of the biggest public exhibitions in the UK. The trail took place across the city between March 26th and April 18th and the start of May sees our closing exhibition at the Control Room, highlighting all the FRAMED work in one amazing window space on Redcliffe Bridge.

Somewhereto_ is a Big Lottery funded organisation that finds free space for 16-25s to realise their ideas. For info about FRAMED, all the artists and Bristol venues, make sure to check out the interactive trail online at:


‘Passage Tomb’
by Von Grey

20th – 30th March 2015

To mark his 40th birthday in early April, Von Grey will transform the Control Room into a Passage Tomb. Passage Tombs are ancient structures that were built thousands of years ago throughout Europe to mark the Equinoxes.

As well as marking a new season in the artists’ story it will also welcome the British Spring time into Bristol’s City centre and make way for new life, new beginnings and fresh horizons.

The windows of the building will be blacked out except for 12 small openings which will let shards of light through. As the sun makes its procession through the sky different parts of the Control Room’s interior will become Illuminated.

Peep holes along the pavement side of the building will allow passers by to see what’s happening inside the room.

On the hour every hour a shard of light will illuminate something that has been placed in the room by the artist.


‘Words In Freedom’
by Adam Hogarth

9th – 16th March 2015

‘Language kills itself, expires inside its host. Language acts as an acid over its message’.

The Flame Alphabet by Ben Marcus.

An artist currently living in London whom graduated from the Fine Art Printmaking department at the Royal College of Art in 2013. Since leaving has been selected for Bloomberg New Contemporaries and have shown work at the ICA and Spike Island (Bristol). Adam Works part-time for Camden Working Men’s College and Advanced Graphics London, both as a Printmaking technician.

Adam’s most recent body of works is a look into the impact that online communication is having upon language. With words like ‘Twerk’, ‘Derp’ and ‘Selfie’ making entries for the 2013 Oxford English Dictionary it is clear that ‘Textspeak’ has moved beyond the confinement of a computer screen or social networking site. In response to this development, His question is: Is this shift in written language good for the progression of English? As things currently stand, he would argue that it isn’t. Adam believes that the condensing of language through abbreviation (LOL, ROFL, etc), portmanteau (emoticon, fugly, bromance, etc) and numeronyms (gr8, b4, etc) is having a negative effect on written language, which reduces the potential for expression. He is keen to develop a concept in which language destroys and reinvents itself regularly, as the ultimate consumer product. This concept would be based around developments and changes to language through the impact of online communication. The idea is linked to notions of Futurism in which artists tore up the history books to naively embrace the modern.

‘Words in Freedom’
was a genre of language coined by the Futurists in the early 20th century and will serve as the starting point for this new investigation within my practice.

For more information visit:


Hand in Glove presents ‘Surfacing’
by Emma Ewan, Will Kendrick, Rebecca Ounstead

3rd – 5th May 2014

Using both the Benjamin Perry Boathouse, Redcliffe Wharf, Redcliffe, Bristol, BS1 6TJ and The Control Room, Redcliffe Bridge, Bristol Hand in Glove presents Surfacing, an exhibition of new works by three emerging artists: Emma Ewan (Glasgow), Will Kendrick (Bristol) and Rebecca Ounstead (Nottingham). Encompassing sculpture, installation, print and live performance, work will be presented in unexpected indoor and outdoor spaces in the waterside location of Redcliffe Wharf, as well as extending online.

Each artist explores the intimate effects of surface, texture, pattern, colour and façade. Ewan’s prop-like, theatrical sculptures playfully lure and deceive; Ounstead uses material and choreographed performance to produce flirty, suggestive arrangements; while Kendrick layers hyper-saturated images referencing the visual language of post-internet culture. In Surfacing, visual intrigue and intervention activates the site and seduces the senses, creating complex relationships between object and image, viewer and performer.

Surfacing is produced by Hand in Glove and is part of the Bristol Art Weekender, a four-day event celebrating art across the city of Bristol. Hand in Glove is a Bristol-based collective of artists and curators who produce nomadic projects which showcase and support emerging artist practice. / @HandinGloveNews / #Surfacing



by Young Arnolfini

24th – 30th March 2014

Young Arnolfini is a collective of art enthusiasts ages from 16-25 working in close collaboration with Arnolfini. Their aim is to make contemporary art and the spaces that exhibit it more accessible for young people and engaging with as many people across the city as we can.

Young Arnolfini present their exhibition ‘Sequential’. The exhibition includes a visual response to Joelle Tuerlinckx’s exhibition in which she transformed the walls of Arnolfini, as well as referencing and promoting the new issue of the Young Arnolfini zine.

Learn more about the YA Zine here:




‘Peep Show’
by Rebecca Ballard, curated by Abi Cush

15th – 20th March

The project, curated by Abi Cush, is a new site-specific installation by Rebecca Ballard responding to the exciting and unusual space. The Control Room is a semi-circular control cabin, now redundant, located on Redcliffe Bridge. The Control Room windows, which usually allow a 360 panoramic view, have influenced the development of the work referring back to pre-cinema optical illusions such as the panorama and its relations, the diorama and peepshow.

Ballard will be transforming the Control Room into a ‘peep show’, using this form to play with notions of perception and illusion. The work will invite viewers and passers-by to peer through a number of peepholes for a glimpse of the unknown; creating a unique and intimate viewing experience which places the audience as ‘voyeur’. The show will explore ideas surrounding spectacle, artifice and doubling.

The installation will encourage the passing audience to notice and consider the space, an inconspicuous yet significant element in the harbourside landscape.

For further exhibition information/images contact:

Abi Cush, Curator T: 07833762460 E:

Exhibition Website:

Artist personal blog:

Curator blog:


by Bristol based street artist Boswell in collaboration with Kumplox

28th February – 14th March

“We have deliberately steered away from the gallery approach to bring the people of Bristol something special,” Boswell says.“No stuffy gallery. No canvases. Just use your imagination.”

Online street art gallery Threenine presents ‘Controlled’, an exhibition of Paul Boswell’s work. Collaborating with the talented and mysterious Klumpox this exhibition promises to be a unique experience.

Boswell creates mystical lands and creatures. His work has a sci-fi/industrial feel to it and he has gained a big following in UK. As his work has progressed, he’s gained popularity nationally and even overseas. He recently took part in “Mythos” a show which took place in Oakland, California earlier this year with great success.

Find out more at:!/controlled39

Here are some links to examples of Boswell’s street art in Bristol:

Tomato plants,The Grow Room, Aeddon Grieve

a collaboration between Ruth Essex and Aeddon Grieve with support from Bristol based Greens Horticulture

May – September 2012

 a demonstration project, aiming to visually transform spaces in the city with plants bringing these spaces into a new and unexpected temporary use. The project consisted of Tomatoes being grown in Redcliff Control Room. It was part of Bristol Biennial and the Big Green Week.


‘Ecstasy of Truth’
by Douglas Clarke and Marina Rossi

January 2012

Dual interacting video installation. The images are in portrait form, the same performance artist in both although to differentiate in one screen she has her hair up and the other down. They reflect two sides of the same personality which is not necessarily indicative of a schizophrenic disorder but how we question our own actions.


‘Cabin Tactics’
by Sovay Berriman, Spike Island Associate

31st May – 27th June 2008

This commission utilised the exterior façade of the cabin with a series of A2 posters containing one of twelve symbols uniquely developed by the artist. Through research for the commission Sovay Berriman made associations between the architectural form of the cabin and the classic dystopian novel 1984 by English author George Orwell. The amalgamation of symbols building across the cabin reinforced an atmosphere of constant surveillance. During the course of four weeks the work was on display the posters were renewed and replaced creating a layering of undecipherable language.



%d bloggers like this: