A look back at the June Mostra 2016

In case you weren’t able to attend the June Mostra showing works produced by our seven resident artists from April to June, we have compiled our favourites from the official photographs of the exhibition (photographer: Roberto Apa). You can read the individual blogs published about each of the artists by clicking on an artist’s name.

The exhibition was made possible thanks to the kind support and generosity of The Arts Council of Northern Ireland, Australia Council for the Arts, the Helpmann Academy, The Incorporated Edwin Austin Abbey Memorial Scholarships, The Linbury Trust and The National Art School, Sydney.

BSR - June 2016 - 039Gallery installation view

BSR - June 2016 - 021Gallery installation view

BSR - June 2016 - 025Corridor installation view

BSR - June 2016 - 028Foyer installation view


David Ryan (Abbey Fellow in Painting)

David Ryan, Variazioni Oblique dopo Balla Futurista, oil on linen, 15 x 20 cm, 30 paintings


Ross Taylor (Abbey Scholar in Painting)

BSR - June 2016 - 002

Ross Taylor, B, paint and ink on paper, 272 x 727 cm


Damien Duffy (Arts Council of Northern Ireland Fellow)

Damien Duffy, False Flag, mixed media, plinth, oil and acrylic on canvas, dimensions variable

Damien Duffy, Back Stab, oil on canvas, flowers, dimensions variable


Joseph Griffiths (Australia Council Resident)

Joseph Griffiths, Fountains, water, travertine, silicon, irrigation tubes, sound, dimensions variable


Deborah Prior (Helpmann Academy Resident)

Deborah Prior, Lupa, found woolen blanket, pillow, stain, mixed media, dimensions variable


Margaret Roberts (National Art School, Sydney, Resident in Drawing)

Margaret Roberts, left to right: Ground Plan, tulle, elastic, nails, 110 x 240 cm; Triangle & Circle, graphite, wood, nails, 300 x 300 cm


Rachel Adams (Sainsbury Scholar in Painting & Sculpture)

Rachel Adams, left to right: Unravelled 1, tye-dye fabric on timber, stainless steel, t-shirt yarn, 125 x 73 cm; Scuttle Shuttle Shuffle, laser cut acrylic, fabric, timber, t-shirt yarn, 50 x 48 cm; See Saws, laser cut acrylic, fabric, timber, 113 x 113 x 25 cm; Unravelled 2, tye-dye fabric on timber, laser cut acrylic, t-shirt yarn, 150 x 120 cm

June Mostra 2016 / Meet the artists … Ross Taylor

Over the next few days we will be introducing you in turn to our seven resident artists who will be exhibiting in the June Mostra on Friday 17 June. With exactly one week to go until opening night we spoke to Ross Taylor about how his work has changed as he approaches his third mostra at the BSR

Ross Taylor (Abbey Scholar in Painting)


Ross Taylor’s paintings are concerned with a language that is non-specific.  A kind of poetics where only condensations appear on the surface, attempting to model thoughts and ideas that seem to be impossible in a physical realm.  His research in Rome will focus on late medieval conceptions of virtual space and the techniques employed in portraying the sacred and the figureless.

I first have to address this enormous piece of work lying across the floor of your studio! Is this your piece for the upcoming mostra and when did you start working on it?

I started working on it a couple of weeks ago. It’s a bit unusual that I’ve been working on so many paintings during my residency but I’m only planning on showing one in this mostra. However, this new approach feels like a bit of a breakthrough for me. The work that I have shown at each mostra has been getting progressively larger and I began to realise that with these larger scale works comes a different logic, especially with concerns over how long they take and what this means when making them. I work into my paintings quite a lot, they can change ten or so times before I think I’ve finished and I do revisit paintings that I’ve already shown. In my studio in London I have a lot of work on the go, it takes a long time for me to think they are finished, and are independent of me. I like my work to be part of a family, so even after an exhibition, if my work starts to move in another direction, I like the other work to go with it.

But for this mostra, I feel I have taken quite a leap somewhere. I noticed that although I really enjoy making paintings on linen and stretcher, they’re not always doing all of the things that I’m asking of them. I think I needed to branch off and work on something slightly more unpredictable.

I really like working on this much larger scale but I do have to work so much faster as I’m using water-based ink and so it has a much quicker drying time. I have about a day to work on a section and then it’s dry. I’m hoping it’s going to be about 7 – 8 metres by the end but you can see which bits I’ve worked on each day, it’s like a catalogue of marks.

What was the catalyst for changing your practise so much?

I am trying to create an atmosphere in my work, I was talking about this to Damien [Duffy, Arts Council of Northern Ireland Fellow] actually , and specifically about the ‘weather’ in new paintings. Within the surface, there is always an allusion to another space, I want them to act as a rendering of an emotional place. But with the new work, when I paste them to the wall, it goes a step further. The speed, or should I say, slowness of the surface demands attention. I am slightly confused with how to view them and I really enjoy that.

I recently had a show in Sweden where I used printed images of my work and I really wanted to pursue this flatness. Since that show, I realised that it wasn’t necessarily the printed aspect of the work that excited me but it was more the relationship of the painting’s surface with the surface on which it is applied. In this new work, the paper is fused directly to the wall, it instantly becomes temporary but yet can’t be moved as the work will not survive without the wall. I was very effected by Fra Angelico’s frescoes in the Convent of San Marco in Florence; each of the cells were individually painted for each inhabitant. It creates a very specific audience – I was drawn to how they can only be viewed here, and now.

You’ve been an award-holder at the BSR for the last eight months, do you think that this progression in your work has been the largest difference you’ve noticed during your residency?

Yes, I was talking to James [Ferris, Derek Hill Foundation Scholar] about this, I think that the residency has given me a completely new confidence. I have been able to get into a routine where I’m getting up every day and making work in the studio without any distractions. In London that’s not the case, your time can be littered with stress and errands, whereas here I have had the space to really focus on certain areas of interest. When I think back to how figurative my work was in September I can see that my work has really been stripped down, one narrative at a time. It’s a really good thing, it’s something that I’ve been wanting to do for a long time but just didn’t have the confidence.

And do you feel that being at the BSR has helped you move forward as an artist?

Just before I came here, I read about Danny Rolph [Rome Scholar 1998-9] and his own memories of how his work progressed at the BSR. You have such an opportunity to change things and you can definitely see a shift in people’s work. He has a great anecdote about a gust of wind blowing one of his paintings on paper onto the floor. It landed facedown, allowing him to notice the back of the work and the potential in this presentation. The type of detail or observation that perhaps may not have registered within the craziness of ‘normal’ life.

Being a resident artist here gives you the luxury of time, you definitely find out more about how you work. For me, it’s been transformative to discover there are so many alternatives within the processes I use!


Ross’ work will be exhibited alongside the other six resident artists in the June Mostra; open 16.30-19.00, Saturday 18 June until Saturday 25 June 2016, closed Sundays.

Photo by Antonio Palmieri, interview conducted by Katherine Paines

A look back at the March Mostra 2016

Just in case you weren’t able to attend the March Mostra showing works produced by our six resident artists from January to March, we have compiled our favourites from the official photographs of the exhibition. (Photographer: Roberto Apa). You can read the individual blog published about each of the artists by clicking on that artist’s name.

The exhibition was made possible thanks to the kind support and generosity of The Arts Council of Northern Ireland, Australia Council for the Arts, Conseil des Arts et des Lettres Québec, The Incorporated Edwin Austin Abbey Memorial Scholarships and The Linbury Trust.

Our June Mostra will be taking place on Friday 17 June.

Main gallery viewGallery installation view

_APA5431Gallery installation view

_APA5474 copiaFoyer installation view


Anne Ryan (Abbey Fellow in Painting)


Anne Ryan, left to right: Io Saturnalia, acrylic on card, dimensions variable
Untitled (Dérive), watercolour on paper, dimensions variable


Ross Taylor (Abbey Scholar in Painting)

Ross Taylor, left to right: Box of teeth, oil, pastel and pencil on linen, 130 x 110 cm
The Bony Labyrinth, oil, pastel and pencil on linen, 120 x 150 cm,
Tanaquai, oil, pastel and pencil on linen, 39 x 30 cm
Bad blood and eggy piss, oil, pastel and pencil on linen, 27 x 40 cm
Big ginger son, oil, pastel and pencil on linen, 45 x 60 cm


Damien Duffy (Arts Council of Northern Ireland Fellow)


Damien Cropped

Damien Duffy, Sea Ghost Audit, acrylic on canvas, 300 x 230 cm


Michelle Ussher (Australia Council Resident)


Michelle Ussher, left to right: Biatches, oil on linen, 65 x 80 cm
Porn classic with middle-aged brunette, oil on linen, 50.5 x 40 cm


Jonas St. Michael (Québec Resident)

Panoramica_senza titolo1.jpg

JOnas Cropped

Jonas St. Michael, Untitled, photographic print, 180 x 150 cm (x2)


Rachel Adams (Sainsbury Scholar in Painting & Sculpture)

Chairs cropped

Rachel Adams, Heritage Work 1 and 2, tie-dyed cotton, timber, t-shirt yarn, zinc brackets and steel tube, 50 x 50 x 85 cm

March Mostra 2016/ Meet the artists… Ross Taylor

Over the next few days we will be introducing you in turn to the six resident artists who will be exhibiting in the March Mostra on Friday 18 March. With under one week to go, we spoke to Ross Taylor in his studio to find out more about him and his work.

Ross Taylor (Abbey Scholar in Painting)


Ross Taylor’s paintings are concerned with a language that is non-specific.  A kind of poetics where only condensations appear on the surface, attempting to model thoughts and ideas that seem to be impossible in a physical realm.  His research in Rome will focus on late medieval conceptions of virtual space and the techniques employed in portraying the sacred and the figureless.

You’ve been here for three months already and so we have seen some of your work in the December Mostra: Open Studios 2015. Has there been anything from the October-December period that has carried over into your work during these three months, or have you found yourself working with completely new ideas?

Well, I think I had arrived from London with a lot of ideas. I was a bit bowled over by Rome and I thought I was responding to it in my work, but maybe I wasn’t as much as I thought! But this term I have been able to let the work catch up with me and I think I am feeding more of Rome into the paintings. I have noticed that everything has become a lot more broken down, which for me, as opposed to the more figurative stuff I was doing before Christmas, is an indication that I am perhaps more aware of how I am experiencing places here, rather than just making paintings as a way to acknowledge what I’ve seen.

So Rome is reflected more in your recent work?

For me, I believe I am never really going to be able to comprehend being in Rome, so I am glad that my work has got a bit lost and become more like a morphing series of marks. If I suddenly started painting specific things that I’d come into contact with, I think that it would be a sign that I didn’t know what to do with everything that was going on. I suppose a lot of it comes down to what we said before at the last mostra, about ‘skin’ and the ‘skins of Rome’. I am just constantly bowled over by how there are so many different surfaces in this city. It sounds a bit cliché but I like how things aren’t obsessively renovated and maintained the way they are in London. There are plants growing out of walls and you know someone must have made a decision for it to be like that, the culture here is just different and things are allowed to be. Also, being able to go see things like the Domus Aurea has really inspired me. It’s such a great story hearing about Renaissance artists rediscovering the Palace and being lowered down through holes in the ceiling to copy the frescoes inside. Thinking about the connections between work made in the 1st century AD and the work made 1500 years later, there is such a huge amount of time in between but there is such a visible connection there. It makes me feel that I am allowed to think about what art will be made in 1400 years.

You’ve talked about the inspiration of Rome as a whole, and specifically about a trip to the Domus Aurea. Has there been anything else that you think has inspired your work?

I do feel that there is a lot here for me, things that I didn’t realise, or didn’t even know were here. Learning more about fresco painting for instance, how historically it wasn’t always the most valuable art form, it served as a cheaper alternative to mosaic. In the Palazzo Massimo there are some really odd pictures that are almost like graffiti; there’ll be a floating head next to a bunch of grapes, next to a table, next to a mask, a kind of composition that teeters on decoration. I like that, painting that becomes a lot more informal, you don’t need to prescribe it to landscape or portrait, it becomes more like a diagram.

It’s not just the city, it’s the people too. It’s been really great being next to artists like Anne [Anne Ryan, Abbey Fellow in Painting] and Damien [Damien Duffy, Arts Council of Northern Ireland Fellow]. The other resident artists come in with fresh opinions and that’s what I think I really needed. It’s amazing having such a variation of people who can give daily input into the work as it’s happening.

Your last mostra here was an open studio, rather than a gallery show. Are you excited about how your work is going to look on display next to the work of the other artists?

I really enjoyed doing the Open Studio, particularly after being here only three months. In a way it stopped me freaking out because I could just think ‘my work is going to be alright, it’s going to be on the same wall from where I made it’. But I’m really glad to be showing in the gallery this time because it’s a good chance to you get some distance on your work. Usually my studio is pretty messy, the walls are covered in paint and it’s almost as if I have to cut the images out. I stop seeing them because they become part of the floor or the walls. Being in a group show is almost like a palate-cleanser, others work helps reset your viewing of the work.

Have you had any thoughts about what you want to show in the mostra yet?

I always have these ‘definite’ ideas of what I’m going to do, and I draw little images of how I’m going to hang the work, but then I’ll get down there and I’ll completely change my mind. I sometimes make the mistake of thinking that with my work everything happens when I’m painting, but in a way I need to take a couple of days at the end to stop and think about how they should be seen. I’ll probably take a selection down to the gallery and move them around until they find a home.

What are you most looking forward to about the mostra?

I think that it’s a chance to see what we all actually do, even though I’ve been living with the other artists and going into their studios daily, you don’t know what people are actually going to produce until the show. It’s a bit like being an actor and rehearsing, you don’t know exactly what it’s going to be like on stage. I think that is what is going to be really exciting!

Ross’ work will be exhibited alongside the other five resident artists in the March Mostra; open 16.30-19.00, Saturday 19 March until Friday 25 March 2016.

Photo by Antonio Palmieri

December Mostra 2015/ Meet the Artists

With the excitement of the December Mostra only one day away we invite you to meet the seven resident artists who will be exhibiting in the show.

Each of the artists were asked one question about their work and their time spent at the British School in Rome.

Ross Taylor
Abbey Scholar in Painting

Ross Taylor’s paintings are concerned with a language that is non-specific. A kind of poetics where only condensations appear on the surface, attempting to model thoughts and ideas that seem to be impossible in a physical realm. His research in Rome focuses on late medieval conceptions of virtual space and the techniques employed in portraying the sacred and the figureless.


Reflecting on the worn out surfaces of your paintings, do you think there is any parallel between these surfaces and the various ‘skins’ of Rome?

‘I’m trying not to take your question literally but at first glance, the surface of my paintings could be mistaken for parchment. They look leathery and beaten.

How the linen gets to this point is part of a process, in which marks, creases, stains, folds and slashes act as an informal language. Information that I can begin to decipher, and which informs the genesis of a work. The painting remains unstretched at this point and is kicked around the studio floor for a time until I notice something that needs ‘bringing out’. But rather than seeing the surface as an animal hide, I see this plane as a kind of liquid, or pool, where images float to the surface. And, when contemplating these condensations, ordering and adapting their unmediated components, I feel I am allowed to model ideas or thoughts that may usually appear impossible in physical space and time.

On our first week at the BSR we were taken by Professor Christopher Smith to visit the Forum. It was pointed out that when an archaeologist excavates a site, they must decide on what information will be revealed, and what histories should be removed to allow this. It’s like a haircut on a massive scale, or pruning a garden. Huge swathes of narrative from the Forum were scraped off the site’s surface, presenting you with a specific destination. This idea has become stuck in my head, as I don’t see myself as a creator of fictions but rather I see myself as a translator. I do not try to invent but rather discover something within the work.’

Catherine Story
Abbey Fellow in Painting

Catherine Story makes arrangements of paintings, sculptures and found objects. In Rome she’s been looking at different support structures, asking whether their natural shapes and basic materials are more relevant today than the ideal forms they once supported. Tree trunks hold up statues of Roman soldiers and brick buildings stand naked without their marble facades, but the holes between are like eyes watching from an ancient time.


How do you think your three-month exploration of the material world and structure of Rome has influenced your work?

‘It’s hard to know, these experiences take time to settle in and you can only really see the changes later, but the difference between this visit and earlier ones is that previously I’ve concentrated on looking at the Renaissance paintings but this time, right from the tour of Ostia in the first week, I’ve been much more affected by the overlapping structures and materials of the city. No doubt this will influence my work in the furture but in the meantime it’s made me even more appreciative of how Fellini and Sergio Leone manage to embed so many different layers and moods into their films.’

Lincoln Austin
Australia Council Resident

Lincoln Austin’s ongoing artistic experiments perennially orbit around concepts of subjectivity, perception, experience and the blurred interaction of ideal and material realities. Lincoln has come to Rome to interrogate and document the ‘Cosmatesque’ mosaics produced for numerous churches in and around the city throughout the 12th and 13th centuries; masterful works utilizing a language of pure geometry to express a metaphysical cosmology, made from recycled stone gathered from the Fori Romani. Austin’s resulting artworks are a distillation of both the experience of looking at the ‘Cosmatesque’ firsthand and an attempt to integrate elements of this symbolic language of materials and geometry into his personal lexicon.


You work with so many repetitive designs that have such a central role in your practice. Having been given the opportunity to travel and see so many of these cosmatesque patterns ‘in the flesh’, has your work been influenced the way you expected it to be?

‘In preparing for this project I tried to keep my expectations of how an ‘in the flesh’ experience of these cosmatesque designs might influence work made in Rome to a minimum and instead focus more on the symbolism they employed and their origins in antiquity.

I had expected to undertake a methodical analysis of these mosaic designs by thoroughly documenting as many patterns and variations as possible photographically and exploring possible applications for variations within my own work. The great surprise for me was that when I finally found myself on a cosmatesque pavement pattern, they were the carefully constructed geometric abstraction I was expecting but they were also highly evocative and sensual surfaces, each one showing evidence of the effects of the movement of time. Each of the numerous examples of Cosmati work I have seen in and around Rome has been worn, damaged, restored or altered in different ways.

As expected I have produced an extensive archive of documentary photographs of the various cosmateque mosaic designs and their various applications. Alongside this I have produced a series of photographs and videos which reveal the sensual/tactile nature of these mosaics. These images are concerned with variations in texture and luster resulting from continuous wear, how the light of the architectural spaces in which they are located effects the reading of these mosaic and how the people who interact with these artworks affect them over time.

One step removed from this again is the work that I have produced for the BSR December Mostra; these works are the distillation of both this methodical analysis and the sensual experience of these mosaics. Working with found, ephemeral or everyday materials to create formal yet evocative and sensual works which engage with the immutability of pure geometry and the ever changing, fluid nature of time and life.’

James Ferris
Derek Hill Foundation Scholar

James Ferris is presenting a collection of images, objects and sound.  Over the past eight weeks he has been researching the talking statues of Rome and the question of what it might be to give works of art agency.


Your initial point of interest was in the talking sculptures in Rome, i.e. the Pasquino. Has your close proximity to these artworks changed the way you interact with them?


Mark Andrew Kelly
Giles Worsley Rome Fellow

Mark Andrew Kelly is a registered architect from Northern Ireland, currently working in practice in London. The exhibition explores concrete construction in Roman barrel vaults, cross-vaults and modern lightweight domes. His exhibition will present works made in various mediums including drawings, blueprints, graphite sketching, watercolour paintings, cast scaled models, 3D printing, oil painting and measured drawings on fine drafting film.


As an architect in a city with such a famous and varied architectural history, what has captured your interest most over the past three months?

‘The city has a rich and varied arrangement of buildings, public spaces and landscapes, layered on top of one another. The focus of my research on domes, vaulting and construction methods has taken me to see a wide and worthwhile series of case studies, which I will draw from in my future practice over the next 30 years.

There are three unique and significant experiences which stand out from my BSR fellowship:

a) (Temple of Mercury: Baiae, Bay of Naples) Drawing on the roof of the oldest concrete monumental dome in the world, near the oculus before sunset was profound. The temple of mercury (20.1m dome) was built in the late 1st century BC, around two centuries earlier than the Pantheon 123 AD (43.3m dome). The spaces created with pozzolana volcanic ash from Vesuvius nearby, made this concrete dome possible. This seminal building technique is a key moment in history, which has been used widely after Emperor Augustus throughout Imperial Rome to create many of Rome’s dome masterpieces like the Domus Area, the Baths of Caracalla and the Pantheon.

b) (Octagonal dome at Domus Aurea, Rome) The subterranean Domus Aurea was Nero’s golden house and pleasure palace, in the heart of Rome built in 64AD after a large fire on the Palentine and Aventine hills. After Nero died his successors wanted to destroy his work and distance themselves from his buildings. Hence the Baths of Trajan were built on top and the Domus Aurea and the palace was filled in with soil to block entry. Today archaeologists have made it possible to visit the underground rooms and octagonal dome wearing a hard hat and protective equipment, to explore this very large underground complex which was around 400m long, which is around four football pitches in length, with around 140 rooms on two levels and ceiling heights stretching up to eleven meters. The experience walking underground present day Rome and looking up at the Domus Aurea’s very unusual octagonal dome, was an eye-opening experience, to understand Nero’s ambition without today’s construction machinery.

c) (Fondi Arte – Fonderia di Bronzo, Rome) The final experience was bronze lost-wax casting which was used by the ancients to create their sculptural work. My research has been into casting concrete domes, through looking at the wood formwork which was used to create a negative mould to form the positive concrete form. This interest in formwork has led me to explore casting, which also uses plaster formwork to create sculptures and architectural maquette scaled models. The model of a lightweight roof dome inspired by the Italian engineer Pier Luigi Nervi was first hand-sculpted in wax and then a plaster negative cast was made, this was heated to 1100 degrees centigrade and molten bronze was poured into the plaster cavity, left to harden, cool, be polished and a patina can be added. The results were very pleasing and this will be shown in the BSR December mostra next to 21st century 3D prints to show the progression of technology across 2000 years in architectural design. I will let people decide if digital or analogue models are more effective. This unique experience working with skilled craftsmen in a bronze foundry is unique to Rome, where there is a strong craft tradition.’

Mandy Niewöhner
Rome Fellow in Contemporary Art

Mandy, Gerrit and Maria Niewöhner are three artists in one body.  In Rome they have been researching Michelangelo’s Last Judgement and the Vatican.  By queering the Vatican and transforming themselves into the Holy Trinity, Mandy, Gerrit & Maria have altered their individual experiences in a whole new body of work where questions are raised about sexuality, gender, religion and Catholic guilt.


Your work includes the input of your three alter-egos; Mandy, Gerrit and Maria. How do you feel that your time at the BSR has allowed you to understand more about the personality of these three characters and how they relate to each other in an artistic sense? Is this something that will be explored in the mostra and in your research and continuing work?

The BSR has given us the time and space to develop ourselves not only on a personal level but especially artistically. This is the first time that Mandy, Gerrit and Maria are working and researching together. Before we came to the BSR we didn’t really know how us three could work together, especially since we are sharing one body, but during the residency everything fell into place and we discovered sides of ourselves we thought we never had. For the mostra we’ve collaborated on the work and the research with each of us giving a different input. We are very excited about the work we have made and how much we have grown as artists in such a short time. The BSR has become a starting point for us to explore our collaboration and it is something we would like to continue exploring in the future.’

Rachel Adams
Sainsbury Scholar in Painting and Sculpture

Rachel Adams’ practice draws on a wide array of influences ranging from 1930s interior design to neolithic tools, classical sculpture and science fiction props.  Her objects combine a variety of DIY methods, such as tie-dye and macramé, with contemporary techniques like laser cutting and digital printing.  These works aim to highlight contradictions in both our perceived notions of history and the hierarchical structures of art and design.


While at the BSR you have had almost unrestricted access to sculptures and monuments from numerous historical periods, but at the same time have also been able to see work from more ‘contemporary’ designers like Gio Ponti at the Palazzo delle Esposizione. How do you feel that this has expanded or reduced your view on sculpture in your own bracket?

‘For me, the mix of these two aspects has definitely expanded my view on sculpture, in particular the way these two aspects of sculpture can sit together. Of course being in Rome has been fantastic for seeing numerous sculptures and monuments from the ancient world. Working in the UK, it is difficult to see the quality, variety and abundance of objects from the period, where mostly we have access to copies or examples of neoclassicism. I have focused on ancient sculptures, but I have been very impressed by the more modern work on display, in particular that of artists/designers, for example Depero, whose appliqué is on display in both the Palazzo delle Esposizione and the Galleria Nazionale d’Arte Moderna. The way 20th-century artists in Italy seem to be able to cross disciplines, to create very irrational and luxurious design has been quite surprising to me, and quite unique in European Modernism. One thing that has particularly caught my eye in Rome’s numerous museums across both ancient and modern is in the methods of display. I have seen examples of classical motifs used to exhibit contemporary objects, and where fragmented marble from the 1st century re held in position with contemporary materials, like transparent acrylic or metal clamps. I feel like this clash of materials, the functional objects of the twentieth century with these ancient cultural objects holds great potential for my work, and will allow me to explore a greater amount of play and irrationality in the studio.’

Katherine Paines (Communications and Events Assistant)

All images credited to Antonio Palmieri, 2015

All details for the December Mostra: Open Studios can be found here.