Unit 7 Exhibitions
Unit 7 Exhibitions
This Human Earth
Michael Petry
December 1986 – January 1987
The work features 365 clothes objects and a soundtrack played through 24 speakers buried beneath a carpet of 3 tonnes of soil.
Strange Territory
Mikey Cuddihy
February – March 1987
The installation showcases Cuddihy’s drawings depicting female figures, which mark the white walls in black charcoal and the wooden floor in white chalk.
Handle with Care
John Mitchell
May – June 1987
The installation is a graphic interpretation of inner-city collapse. The accumulated debris simulates piles of black masonry interspersed with sheets of corrugated iron but is entirely fabricated from painted cardboard.
A Brush with Art
Paul Ashurst
April – May 1987
‘A Brush with Art’ is an installation of canvasses suspended back to back depicting external and internal locations in vibrant shades of colour, surrounded by a frieze of pointillist pastel hues.
Untitled
Kathy Prendergast
June 1987
Prendergast’s installation, the outcome of the Henry Moore fellowship, is a rendition of a fictional landscape shown through chalk residue, large drawings and steel constructions.
Charming the Snake
John Swarbrick
July – August 1987
Swarbrick uses polythene sheeting draped from the ceiling in a work that is both transparent and opaque. Spectators are visible through the walls, but only as vagues presences, fading as they move further away.
A Mountain and A Lake
Thrafia Daniylopoulos
September – October 1987
The installation functions as a theatrical backdrop in the shape of wall-paintings that surround the viewer and examines the subject of ancient mythology.
Expanse
Phyllida Barlow
October – November 1987
The monumental installation renders everyday materials such as underfelt, grey foam rubber and plastic binliners into an organic and quasi-animal form.
Interval
Rosie Leventon & Elena Gaputyte
November – December 1987
The space is horizontally bisected with a vast, suspended glass structure beneath which is a tower made from charred wood.
Approach
Rob Kesseler
January – Feburary 1988
The installation presents a number of small objects arranged on the walls and on the floor around a large magnet built from plywood. A book of screenprints illustrates and describes the relation between the everyday objects.
Wire to Line
Debbie Duffin
March – April 1988
The objects that are dispersed throughout the space are made from woven strands of plastic-coated wire wrapped individually in minute, hand-painted pieces of paper.
Chaos Human Atomica
Michael Petry
April 1988
The space is topped with a tented black canopy and lined with silver foil and immerses the viewer in the artist’s parallel world.
Blobs
Gloria Carlos
May – June 1988
The installation is composed of metal poles which arc from one corner of the gallery to the other, its ends are attached to the floor by the “blobs” of the piece’s title. The gestural sweep of the work closely mirrors the immediacy of the artist’s original pen and ink drawings.
Come out upon the Dark Plain
John Coleman
July 1988
An installation comprised of large cut-out figures in the shape of archaic walkers taken from Thomas Bewick’s engravings. These are suspended in the space, their slow rotation casting shadows on the walls.
Tailor Made
Craig Rosborough
July – August 1988
Strips of acetate cut from rolls of pilots’ skycharts run diagonally from one corner of the gallery to another. The space is further punctuated with a variety of found objects suspended from elongated metal springs.
Untitled
Kerry Andrews
October – November 1988
A stripped down sculpture of a dwelling placed on top of a green carpet occupies the space. Beneath its canopy is a flotilla of paper boats folded from the pages of Max Ernst’s book of collages “Une semaine de bonté”.
Petroleum
Max Couper
February – March 1989
A five tonne caterpillar track dominates the space and is surrounded by other defunct industrial machinery, light projections and a petrol pump spewing a column of fire. A giant metal sphere is chained to the ceiling and acts as a pendulum.
Temple
Mark Currah
April – May 1989
The installation divides the volume of the gallery in two with a skeletal framework of timber. The work is an allegory for the inflexibility of religious and political law.
North Sea
Harry Philbrick
March – April 1989
Wave-shaped curves, made from compressed asphalt, punctuate the space, their shapes are echoed by forms of cast sand.
Multiple manipulations of small drawings
Mikey Cuddihy
September – October1989
The work presents the artist’s hand-made and incidental doodles as domestic wallpaper designs fitted within the context of the industrial space.
Untitled
Lucia Nogueira
May – June 1989
Closer inspection of the seemingly empty gallery reveals a number of minute interventions in its fabric: strips of fur are set into the floor, its surface is stitched with metal wire and connected with surgical tubing, suggesting the presence of a damaged organism.
The Untouchables
Hansjörg Schäfer
June – July 1989
The work consists of four separate structures: a Chippendale dining set covered with a mosquito net, a sphere of plates held together with clothes pegs, a pyramid of Crystal connected by tennis balls, and a smashed ladder of champagne glasses, acting as a humorous critique of the class system.
Twi’light
Caroline Wilkinson
October – November 1989
The installation is open only for the half hour daily, a time period that is dictated by the shifting pattern of the sunset. During this brief moment of ‘Twi’light’ there is just enough natural light in the space to perceive the suspended square of hand-written notes. These quickly fade into obscurity in the diminishing light, whilst a super 8 film projection becomes visible instead.