André Stitt Living in the Material World Exhibition

andré stitt living in the material world exhibition

Published by gallery/ten gallery/ten contemporary art gallery/oriel gelf cyfoes 13th october - 19th november 2016 http://www.gallery-ten.co.uk 23 windsor place [email protected] @gallery_ten cardiff cf10 3by

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The gallery is pleased to present ‘Living in This, Stitt’s second solo exhibition at the Stitt’s practice moves at a quick pace, with synthetic is celebrated through more con- the Material World’, a major solo exhibition gallery, sees a clear and concise body of Stitt prone to comment ‘I’ve moved on from temporary substances - free from the heavy by artist André Stitt. work which feels like a definite and defining this’ when viewing his work on the gallery traditions of oil and canvas - fitting for the point in his practice. Inevitably, comparisons wall. This is testament to his astonishing futuristic optimism of the era. Tinged with a The gallery has represented Stitt since 2013, are drawn between Stitt’s 2014 exhibition work ethic alongside the practical implica- dystopian air, the concrete structures and with his art not only becoming a staple in the ‘Dark Matter’ which, at first glance, seem tions of using such quantities of oil paint, forgotten public art of the time are used here gallery’s exhibitions, but also in the collec- worlds apart. Dominant throughout ‘Dark which ask an unavoidably long drying time. by Stitt as another catalyst for his overarch- tions of many of our clients. To the gallery’s Matter’ was the prominent use of thick oil Visually, the development can be traced ing philosophy - as did the suggested mole- audience, his name is synonymous with paint on canvas, layered and punctured with through artworks produced since his 2014 cules of ‘Dark Matter’. That is, the realization, abstraction, copious paint (with a clear love clusters of repeated circular motifs, the form show. This timeline of progress through understanding and exploration of the impact for the material) and a certain fervent energy of which suggested atoms, molecules and Stitt’s recent practice reveals a significant the world around us has on ourselves - the permeating from each work exhibited. galaxies. ‘Living in the Material World’ feels turning point - the shift from canvas to seen and unseen; from the atom to the gal- - quite literally - lighter, flatter, with transpar- wood panel and from his use of oil to acrylic axy; the past-present-future all jumbled and ent planes of angular architectural themes. paint. The switch in his choice of paint has inseparable; the tangible and abstract. resulted in a quicker way of working, al- But, scratch a little deeper, and the change lowing for thinner application, thus creating Stitt presents us with images that are simul- is not so dramatic. depth through multiple translucent lay- taneously familiar and unfamiliar and, pro- ers. The synthetic qualities of acrylic paint pelled by his enduring love of paint, beckons also lends itself to the emergence of a new us to look through the layers of the painted theme in Stitt’s work - his personal interest surface. in brutalist architecture and the ‘new future’ of post world war society. Hinting at man- Cat Gardiner, gallery director. made materials and Formica finishes, the

6 7 Theme From The Regular Shape of Forever acrylic on canvas, 190 x 300cm, 2016 Synthetic Model For A Post-Capitalist Economy In A Parallel Universe mixed media painting installation, 2015-16 An embodied memory has an essential role as the basis of remembering a living in the material world space or place. We transfer all cities and towns we have visited, all places we have recognised into the incarnate memory of our body.2

The architecture of the military bunker is The civic centre of the new town of I have recently been investigating how paint- In so doing I wish to make paintings that transposed, reconfigured and positioned as ing can be experienced as an ‘extended’ seem to arrive as if from another time and 1 Craigavon in Northern Ireland is aligned with quasi-monumental edifice. practice through installed groups and con- place; a potential dissident space where all Victor Pasmore’s ‘Apollo Pavilion’ in the new town of Peterlee in England. figurations. The current focus of this work era’s co-exist. The municipal centres of the lost new towns is an exploration of modernist architectural of Britain are celebrated through utopian William Mitchell’s postwar concretopia legacies as a visionary utopian embodiment Here I also reference the work of Philip K. memorials for a future that didn’t arrive. 3 becomes the lost dream of the cosmic of progressive civic, municipal and social Dick and his use of a future-present utopian/ soviet and a territorial memory of teenage engineering. dystopian binary as a means for dismantling Social housing residents committees years in Cwmbran. our perception of ‘reality’. appropriate public sculpture as testimony for The work draws upon the materiality of the a nostalgia of repression. Monumental state sponsored ‘Spomenick’ built environment and its abstract displace- Specifically sited art was viewed as an im- sculptures become places of forgetting ment through art as a memory of forms portant contribution to a new civic and mu- rather than places of remembering. reimagined as a parallel universe. nicipal environment at a local and national In proposing a simulacrum I wish to question level in post-war Britain. In these groups our received notion of authenticity in a world of paintings I reference the mural work of constructed through imperial economies of John Tunnard4 at the Festival of Britain, the power that contribute to national/cultural/ concrete relief work by William Mitchell5 on post-colonial identity made manifest through housing blocks and civic centre’s such as in art and architecture. the new town of Cwmbran6 and Victor Pas- more’s7 brutalist concrete Apollo Pavilion in The ambition is for work that may create a the new town of Peterlee in order to explore sense of recognition counter balanced by a the legacies of art and architecture as a sense of timelessness, loss, longing, discon- modern/futuristic vision for social progress. nection and melancholy. 12 13 Memory, recall, and embodied experiences 1 “Nazi Germany built thousands of fortifications: 5 William Mitchell (born 1925) is an English sculp- Pasmore’s choices in this area proved controversial; are employed to interrogate issues of politi- bunkers, observation posts, anti-aircraft posts, U- tor, artist and designer. He is best known for his the centerpiece of the town design became an ab- large-scale concrete murals and public works of art stract public sculpture structure of his design, the cal, economic and devotional power, sys- boat pens, flak towers. There were altogether about 60 types. They were mostly built by the Todt Organi- from the 1960s and 1970s. His work is often of an Apollo Pavilion. temic corruption, utopian ideologies, and the sation and they were mostly designed by the archi- abstract or stylised nature. His use of heavily mod- He represented Britain at the 1961 Venice Biennale architecture of neo-human control in a cha- tect and engineer Friedrich Tamms. He described eled surfaces created a distinctive language for his was participating artist at the Documenta ll 1959 in otic universe. This often reveals itself as a them as “cathedrals of artillery”. “To shelter is to predominantly concrete and glass reinforced con- Kassel, Germany and was a trustee of the Tate Gallery, searching out of small elusive moments and pray.” “They are true monuments to God” Art and ar- crete sculptures. After long years of neglect, many donating a number of works to the collection. chitecture were propagandist instruments.” Meades, of William Mitchell’s remaining works in the United unconscious dilemmas that may implicate us 8 Jonathan (2014) Bunkers Brutalism and Bloodymind- Kingdom are now being recognised for their artistic Atemporality or timelessness is manifested in paint- in a larger communal, collective or cosmo- edness, BBC television broadcast 16th Feb. 2014. merit and contemporary historic value, and have ing through the reanimating of historical styles or by logical narrative. been granted protective and listed status. recreating a contemporary version of them, sampling 2 Pallasmaa, Juhani (2005) The eyes of the Skin: motifs from across a timeline of 20th-century art in Architecture and the Senses, London, John Wiley and 6 Following the passing of the 1946 New Towns’ Act a single painting or across an oeuvre, or by radically Paint is utilised as a synthetic transmitter of Sons Cwmbran was established as a new town in 1949 to paring down an artistic language to its most basic experience that reflects the historical uncer- provide new employment opportunities in the south archetypal form. tainty of time and place proposing contem- 3 Philip Kindred Dick (1928 –1982) was an American Wales. porary genre painting as a transformative writer, whose published works mainly belong to the The longest established employer in Cwmbran is bis- cuit maker Burton’s Foods who employ 1000 people medium with redemptive potential. genre of Science Fiction. Dick explored philosophical, sociological and political themes in novels with plots to make its Jammie Dodgers and Wagon Wheel bis- As such, I see my painting occupying a limi- dominated by monopolistic corporations, authoritar- cuits. As of 2005, the Cwmbran plant produces over nal space that might be defined as ambigu- ian governments, and altered states of conscious- 400 million Wagon Wheels a year. ous or ‘atemporal’8 abstraction. A position ness. In his later works, Dick’s thematic focus tended 7 that is not static or fixed but part of a net- to reflect his personal interest in metaphysics and Victor Pasmore (1908 –1998) was a British art- theology. ist and architect. He pioneered the development of work where all eras co-exist. abstract art in Britain in the 1940s and 1950s. I position my own painting here where it can 4 John Samuel Tunnard (1900 –1971) was an English In 1950, he was commissioned to design an abstract be produced without an agenda based on a modernist painter and designer. From the mid-1930s, mural for a bus depot in Kingston upon Thames and received meaning of a style. he began to paint abstract works influenced and the following year Pasmore contributed a mural to later embraced British surrealism. His works featured the Festival of Britain that promoted a number of the architectural and biomorphic forms combined with British Constructivists. elements of constructivism. He was commissioned Pasmore was a supporter of fellow artist Richard to produce a large wall mural to the Festival of Britain Hamilton, giving him a teaching job in Newcastle and Regatta restaurant. contributing a constructivist structure to the seminal Tunnard’s work, along with that of painter Graham exhibition ‘This is Tomorrow’ “ in collaboration with Sutherland was loosely termed British Neo-roman- Erno Goldfinger and Helen Phillips. His interest in the ticism, continuing the tradition of British landscape, synthesis of art and architecture was given free hand but with a modern sensibility. In later life he became when he was appointed Consulting Director of Archi- interested in science, space travel and entomology tectural Design for Peterlee new town development producing textured surfaced paintings depicting corporation in 1955. satellites and moonscapes.

14 15 Beyond the Horizon acrylic on wood panel, 120x120cm, 2016 Come Tomorrow acrylic on wood panel, 120x120cm, 2016 16 17 Out Here, Temple Rock acrylic on wood panel, 90x150cm, 2016 A Parallel Life acylic on wood panel, 90x150cm, 2016 18 19 The Rebuilding of the Great Snowdonia Spaceport acrylic on wood panel, 62x92cm, 2016 Theme From the Kingdom acrylic on wood panel, 61x61cm, 2016 20 21 Theme From the Seminary acrylic on wood panel, 61x91cm, 2016 Theme From The Ministry of Defence acrylic on wood panel, 61x91cm, 2016 22 23 Road-Block acrylic on wood panel, 50x50cm, 2016 If You Were Still Around acrylic on wood panel, 50x50cm, 2016 24 25 Seymour Hill l acrylic on wood panel, 51x51cm, 2016 Seymour Hill ll acrylic on wood panel, 51x41cm, 2016 26 27 Decoy acrylic on wood panel, 90x150cm, 2016 House of the Engineer acrylic on wood panel, 63x92cm, 2016 28 29 Summer Colony #1 acrylic on wood panel,120x120cm, 2015 Summer Colony #2 acrylic on wood panel,120x120cm, 2015 30 31 Autumn In The Commune Diptych (2 x panels) acrylic on wood panel, 92x61cm, 2016 Sighting acrylic and enamel spray paint on wood panel, 50x75cm, 2015 32 33 Flyover acrylic on wood panel, 60x50cm, 2016 Shuttle (Memories of Cold Mornings) acrylic on wood panel, 40x40cm, 2016 34 35 High-Rise Dawn acrylic on wood panel, 60x60cm, 2016 Capsule acrylic on wood panel, 60x60cm, 2016 36 37 High Rise On The Horizontal acrylic on wood panels, 71x41 cm, 2016 Thaw Over Hollow Concourse l & ll acrylic on wood panel 2 x 40x40cm 2016 38 39 Extracts From a Continuous Construction Refuge acrylic on wood panel, 41x51cm, 2016 sanded oil paint, acrylic and pencil on wood panel, 51x51cm, 2016 40 41 Harmony Heights sanded oil paint, and acrylic on wood panel, 40x40cm, 2016 Breakfast Bar (Bomb) acrylic, enamel and expanded foam on 4 x wood panels,102x92cm, 2016 42 43 Synthetic Model For A Post-Capitalist Economy In A Parallel Universe Synthetic Model For A Post-Capitalist Economy In A Parallel Universe mixed media painting installation 2015-16 mixed media painting installation 2015-16

44 45 Civics limited edition box of 50 unique drawings, edition of 5 boxes 2015 Harmony Heights pencil on paper, 21x30cm 2016 46 47 The Rosiland Protocol l pencil and acrylic on card 21x30cm 2016 The Rosiland Protocol ll pencil and acrylic on card 21x30cm 2016 48 49 Quiet Nights lll pencil and oil on paper, 21x30cm, 2016 Snowdonia Spaceport pencil and oil on paper, 21x30cm, 2016 50 51 Phenomenal transparency in architecture My own work alludes to a condition of phe- implies a subtle and complex notion of lit- nomenal transparency as a continuous eral transparency. Literal transparency offers dialogue between lived experience of the simple and direct communication with no built environment, memory, fact and implica- sense of presence. Whereas phenomenal tion. Phenomenal transparency is used as transparency is similar to that found in cub- a subjective interface (metaphorically, per- coda:terms of reference ist paintings whereby we are introduced to a formatively and emotionally) that combines simultaneous perception of different spatial memory with phenomenal experience of time locations. In applying these concerns to and place. This conditional experience has architecture, space not only recedes it also a relationship to a common contemporary fluctuates in a continuous activity. preoccupation with disjointed or transparent Colin Rowe suggests there is a “continuous temporalities through notions of haunting or dialectic between fact and implication. The ‘hauntology’ (Derrida 1993). reality of deep space is constantly opposed The idea that popular culture has always to the inference of shallow space; and by drawn on a sense of nostalgia is ubiquitous means of the resultant tension, reading after however, we now live in an era of elision reading is enforced.” (Rowe 1955-56) where the near-entirety of our cultures’ pasts can be accessed, excavated and made avail- able in an instant.

52 53 The simulacrum is never what hides the truth – it is truth that hides the fact that there is none. The simulacrum is true visual research : image key

We experience visual culture as slippage, [1] Victor Pasmore, Apollo Pavilion, Sunny [15] William Mitchell, Lift Shaft, Cwmbran New elison and as transparent membrane where- Blunts, Peterlee,1970. Town Centre. Photo 2016. by our interface with the visual world has [2] Victor Pasmore, Apollo Pavilion, Sunny [16] Cwmbran promotional brochure, circa mid been totally altered by the virtual and the Blunts, Peterlee, 2015. 1970’s. screen; images are flat, backlit, transitional [3] Knight, P. (ed.) New Towns: The British Expe- [17] William Mitchell, concrete relief on Cwmbran rience, Charles Knight/Town & Country Planning Drive main road, Cwmbran. Photo: 2016. and rapid. This acts as a form of phenom- Association,1970. [18] Booklet page 36, Expo 70, Osaka, Japan. enal transparency whereby we inhabit a [4] Police Station, Belfast, Northern Ireland, [19] Soviet Union Pavilion, Expo 70, virtual space for collection, download and circa 1977. Osaka, Japan. post-production (Bourriaud) that promotes a [5] Concrete road blocks, Northern Ireland. [20] Georges Mathieu, Transformer Works, sense of atemporality as a common state of Photo: 2009. Fontenay-le-Comte, France, 1966 . being. Our presence is haunted by memory [6] Residential Building, Superquadra, Brasilia, [21] Northern entry to Yerevan, Armenia,1960. (real and fictional); by being neither present 1958. [22] Gravley Hill interchange (Spaghetti Junction) nor absent, dead or alive. [7] Brick hammered concrete exterior, Barbican, West Midlands, 1972. London. Photo: 2016. [23] M6 Lancaster Fortin Services, Pennine It is here that my recent extended paint- [8] Formica toilet door, 1973. Tower, 1965. ing practice exists in a constant state of [9] Hotel Brasilia,1958. [24] JG Ballard, Concrete Island,1974. [10] Nasreen Mohamedi, untitled, [25] William Mitchell, Swiss Cottage community atemporality with the working process ex- ink on paper 51x71, circa,1970. centre, London, 1960. perienced as a state of phenomenal trans- [11] Donald Judd, Installation, Marfa,Texas. [26] Maze Prison, Northern Ireland. Photo: 2010. parency. It is also here I suggest that we Photo: 2015. [27] Portsmouth Public Library, England. are haunted by the spaces we thought we Rowe. C., Slutsky, R. (1955-56) Literal Transparency and Phenomenal Transparency, Birkhäuser Architec- [12] Andre Stitt, Tony Schwensen, Big Pinko, Photo: 2016. inhabited, in a future that looks like the past ture, Basel. Minto, Campbelltown, Australia, 2009. [28] John Lautner, Chemisphere, Los Angeles, which now looks like the future which looks Derrida, Jacques (1993) Spectres of Marx, [13] Craigavon New Town Shopping Centre, 1960. like the built environments that held our Routledge, London. Northern Ireland, 1975. [29] Elisabeth Frink, Flying Figures, Ulster Bank, utopias: always present, always absent and Bourriad, Nicolas (2002) Postproduction, [14] Craigavon, Northern Ireland, 2008. Belfast, 1963. Photo: 2015. always always. Lukas & Sternberg, New York.

54 55 [30] Julia Kubitscheck Elementary School, Dia- mantina, Minas Gerais Ste, Brasil, 1952. [31] Seymour Hill Housing Estate, Northern Ireland. Photo: 2015. [43] Wladyslaw Hasior, Iron Organs, Podhale [32] Study Room, Coleg Harlech, Wales,1973. Czorsztyn, Poland, 1966. [33] Communal Clubroom, German Democratic [44] Theatr Ardudwy, Harlech, 1973. Republic, 1979. [45] Theatr Ardudwy, Harlech, 2016. [34] Kitchen of the Future, Alison & Peter Smith- [46] Architects drawing for the rebuilding of the son, Ideal Home Exhibtion, Olympia, London, great hall, Coleg Harlech, Theatr Ardudway,196 1956. [47] Lynn Chadwick, Trigon, Harlow New Town, [35] Alexandra and Ainsworth Estate, London, Essex, England, 1961. 1979. [48] Sumotomo Group Pavilion, Expo 70, [36] UN Refugee Shelter Kit, 2016. Osaka, Japan. [37] Case Study house no. 22, Los Angeles, [49] Ove Arup, Dunlop Semtex, Brynmawr, Wales 1 1959-60. Stitt, Studio Models, Kodapress Studio, [38] Stitt, wall drawings, Kodapress Studio, Grangetown, Cardiff, 2016. Grangetown, Cardiff, 2014. [50] Tajiri, No.2, 1966. [39] William Mitchell, AKA ‘The Monstrosity’, [51] Stitt, Studio Models, Kodapress Studio, Churchill Square, Brighton, 1968. Grangetown, Cardiff, 2016. Demolished 1996. [52] Tricorn Centre, Portsmouth, 1966, [40] Ulster Museum, extension, 1970. demolished 2004. Photo: 2012. [53] John Tunnard, mural for the Regatta [41] Spomenik, Kosmaj, former Yugoslavia, Restaurant at the Festival of Britain, London, circa 1970’s. 1951. [42] Spomenik, Podgaric, former Yugoslavia, [54] Victor Pasmore, wall relief in the Kingston circa 1970’s. bus garage canteen, 1950. 3 [55] Victor Pasmore, wall relief in the Community Centre, Pilkington Glass Works, St. Helens, Lancashire, 1962- 64. [56] Mike Cumisky concrete relief subway underpass, Skelmersdale, Lancashire, England, circa1967. 2 [57] Mike Cumisky concrete relief subway underpass, Skelmersdale. Photo: 2016.

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74 75 Studio: Monument I & ll acrylic on canvas, 190 x 300cm, 2015 ONE PERSON EXHIBITIONS SELECTED GROUP EXHIBITIONS andré stitt 2014 DARK MATTER, gallery/ten, Cardiff 2016 BEEP PAINTING BIENNALE, Swansea, Wales 2000 0044, Ormeau Baths Gallery, Belfast 2013 IN THE WEST, Leeds College of Art Gallery NATIONAL EISTEDDFOD OF WALES, 0044, Crawford Municipal Gallery, IN THE WEST, Oriel Myrddin, Abergavenny, Wales Cork, Ireland b. Belfast, Northern Ireland 1958 Carmarthen, Wales ORIEL DAVIES OPEN, Newtown, Wales 1999 0044, PS1, New York 2012 PROG.VOL.2, Warning Contemporary Art, 2nd NSK FOLK ART BIENNALE, 0044, Albright Knox Museum, Buffalo, NY 1976-1980 Belfast School of Art, Belfast Burren College of Art Gallery, Ireland 1998 STREETWORKS, Streetlevel Gallery, Glasgow Ulster University, Northern Ireland PROG.VOL.1, Saint David’s Hall, Cardiff 2015 GRIFFIN OPEN, Griffin Gallery, London 1997 DOING IN ITS OWN RIGHT, Serpentine, 2010 EVERYBODY KNOWS THIS IS NOWHERE, COLLECTED HISTORIES, GT Gallery, Belfast London Working almost exclusively as a performance and Howard Gardens Gallery, Cardiff ART OF THE TROUBLES, Wolverhampton 1995 EXPEDITION IN THE PERFORMANCE interdisciplinary artist from 1976-2008 André Stitt SUBSTANCE, GTgallery, Belfast Art Gallery, England WORLD, Artpool, Budapest gained an international reputation for cutting edge, 2009 SHIFTWORK, The Lab, New York 2014 MOBILE ENCOUNTERS, Irish Museum of 1994 AART, Irish Museum of Modern Art, Dublin provocative and politically challenging work. EVERYBODY KNOWS THIS IS NOWHERE, Modern Art, Dublin PAQUET CADEAUX, Galerie Satellite, Paris A predominant theme in his artistic output was that MCAC, Craigavon, N. Ireland NEW WELSH ART, gallery/ten, Cardiff 1993 OF LOVE, Galerie Satellite, Paris of communities and their dissolution often relating 2008 SUBSTANCE, Spacex, Exeter, England BEEP PAINTING BIENNALE, Swansea, Wales 1990 FANZINE AS OBJECT, Karl Ernst Museum, to trauma, and civil conflict, advocationg art as a 2005 RECLAMATION, Chapter, Cardiff ART OF THE EASTSIDE, Eastside Arts, Hague, Belgium redemptive proposition. During this period his ‘live’ 2004 CARGO CULT, CGP Gallery, London Belfast 1989 HARDCORE, Mexic-Arte Museum, Austin, Tx performance and installation works were presented 2003 WHITE TRASH, Grunt Gallery, Vancouver ART OF THE TROUBLES, Ulster Museum, ARTZ ATTACK, Project Arts Centre, Dublin at major museums, galleries, festivals, alternative THE BEDFORD PROJECT, BCA Gallery, Belfast 1988 AIR MAIL, Air Gallery, London spaces, artist-run collectives and sites specific Bedford, England ORIEL DAVIES OPEN, Newtown, Wales 1987 CONFRONTATIONS, Projects UK throughout the world. 2002 SOUTH OF NO NORTH, Sirius Arts Centre, 2012 BEEP PAINTING BIENNALE, Swansea, Wales touring exhibition 1982 Cobh, Ireland JOHN MOORES 2012, Walker Art Gallery, 1982 SADE, Crawford Municipal Gallery, Cork, In 2008 he was awarded a major Creative Wales 2001 HOMEWORK, Le Lieu Centre en Art Actuel, Liverpool Ireland Award to develop his work and has since changed Quebec NATIONAL EISTEDDFOD OF WALES, 1981 EXHIBITION OF DRAWING SIGNS, Rysunku the focus of his art practice to painting. In 2015 he 2000 HOMEWORK, Howard Gardens Gallery, Glamorgan, Wales Gallery, Poznan, Poland was awarded another major Arts Council of Wales Cardiff SHELTER, Oriel Mostyn, Llandudno, Wales 1980 EVA, Limerick, Ireland Creative Wales Award to further investigate painting 1999 LEARNING TO FLY, Michael Wilson Gallery, 2011 NATIONAL EISTEDDFOD OF WALES, 1979 EXHIBITION OF VISUAL ARTS, Crawford in relationship to installation art. London Wrexham, Wales Municipal Gallery, Cork, Ireland 1997 DOMESTIC SCENES, Michael Wilson Gallery, DEATHANDDADA, Galerie Lehtinen, Berlin IRISH EXHIBITION OF LIVING ART, London 2007 AFTERMATH, Artspace, Sydney, Australia Bank of Ireland, Dublin 1993 AKSHUNARTIFAX, Arts Council Gallery, 2006 ACUTE ZONAL ULTRA, Drawing Centre, Belfast New York 1990 MINI RETRO, De Media, Eeklo, Belgium NATIONAL EISTEDDFOD OF WALES, COLLECTIONS 1985 SNUFF, Lantaren-Venster Gallery, Rotterdam, Swansea, Wales Ulster Museum, Belfast, Northern Ireland Holland 2005 NAVIGATE, Baltic, Gateshead, England Arts Council of Northern Ireland SATELLITES, Lamont Gallery, London REACTION, Venice Biennale Wolverhampton Art Gallery, England 2001 NATIONAL EISTEDDFOD OF WALES, Karl Ernst Museum, Hague, Belgium Denbigh, Wales Artpool, Budapest British Library, London Private collections worldwide

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