PDP- Stor(Y)age


Grayson Perry, winner of the 2003 Turner Prize, uses the seductive qualities of ceramics and other art forms to make stealthy comments about societal injustices and hypocrisies, and to explore a variety of historical and contemporary themes. The beauty of his work is what draws us close. Covered with scraffito drawings, handwritten and stencilled texts, photographic transfers and rich glazes, Perry's detailed pots are deeply alluring. Only when we are up close do we start to absorb narratives that might allude to dark subjects such as environmental disaster or child abuse, and even then the narrative flow can be hard to discern. 



Turner Prize-winning artist Grayson Perry turns his attention to portraiture and British identity for this display of new works, including a self-portrait and a tapestry, made during his Channel 4 series Who Are You?

Fourteen portraits of individuals, families and groups, including politician Chris Huhne, a young female-to-male transsexual, Northern Ireland Loyalist marchers and X-Factor contestant Rylan Clark, have been inserted into the Gallery’s nineteenth and twentieth century rooms on Floor 1.

The Ashford Hijab is a silk screenprint depicting Muslim convert Kayleigh Khosravi and her children as they move away from what Perry describes as the "temple of consumerism" of the Ashford Designer Outlet Centre to the focal point of the Muslim faith in Mecca. 


Three glazed pots in the exhibition represent the "modern family". One is entitled Idealised Heterosexual Couple, which shows divorcees who live apart but whose family is brought together through its love of ballroom dancing classes.

Another tapestry in the display is called Line of Departure. It has been created in the style of an Afghan rug, which shows three wounded war veterans in a room surrounded by the National Portrait's Gallery's pictures of Lord Baden-Powell, Florence Nightingale, Mary Seacole and soldiers Lord Kitchener and Frederick Barnaby.

Jesus Army Money Box is a ceramic in the form of a medieval-style "chasse" - a small enamelled chest containing a holy relic - which depicts a Christian group that works with the homeless.

Defining a Passive Audience

passive audience is an audience that will initially pay attention to a message only because it is entertaining and offers a diversion.This type of audience is made aware of something through a brief encounter such as a billboard, poster, flyer, etc.
Communication channels ideal for reaching a passive audience are ones that can be accessed while doing something else. (example: driving a car and seeing a billboard). Messages targeted towards a passive audience need to be creative and stylish: something that will capture one’s attention. 



Active audience theory argues that media audiences do not just receive information passively but are actively involved, often unconsciously, in making sense of the message within their personal and social contexts. Decoding of a media message may therefore be influenced by such things as family background, beliefs, values, culture, interests, education and experiences.

Active audience theory is seen as a direct contrast to the Effects traditions, however Jenny Kitzinger argues against discounting the effect or influence media can have on an audience, acknowledging that an active audience does not mean that media effect or influence is not possible.

Choreographed by international award winning artist Stephan Koplowitz, this water themed site-specific work is a collaboration with 16 local professional dancers, Houston composer Aaron Hermes and Space City Gamelan in a 45 minute promenade performance event that physically and visually animates the entire park and its unique fountain.

Stephan Koplowitz is an award-winning director and choreographer specializing in site-specific multimedia performances.

Site-specific theatre is any type of theatrical production designed to be performed at a unique, specially adapted location other than a standard theatre. This specific site either may be originally built without any intention of serving theatrical purposes (for example, in a hotel, courtyard, or converted building), or may simply be considered an unconventional theatre space for example, in a forest

The Grand Step Project_ Flight (excerpts) Stephan Koplowitz (site-specific dance).mp4
Flash animation

The Grand Step Project was conceived as a site-adaptive work to be performed on grand staircases, all over the world. The 30-minute work consists of Flight, a 15-minute dance performance for 50 dancers, preceded by a 15-minute performance by a 50-member choir or musical ensemble. Inspired by the dynamic tension between the beauty and grandeur of prominent grand staircases—and the casual use a diverse public makes of them on a daily basis—The Grand Step Project reflects the spirit of the contemporary urban environment. The work also functions as a way for local arts presenters to both reach new audiences and help connect different strands of their cultural community, specifically in dance and music.

The Drowned Man: A Hollywood Fable is their biggest production to date. Set across numerous floors of an abandoned building near Paddington Station and styled as the eerie Temple Studios, a legendary 50s film powerhouse long-forgotten, the story follows the dreamers who populate the seedy underbelly of Hollywood. Inspired by the fractured tragedy of Büchner’s unfinished work, Woyzeck, the production features a labyrinthine spectacle that explores the mystery behind Temple Studios and its sudden closure in 1962.

Punchdrunk - The Drowned Man_ A Hollywood Fable.mp4
Flash animation

is an American artist primarily concerned with light and space. Turrell was a MacArthur Fellow in 1984. Turrell is best known for his work in progress, Roden Crater, a natural cinder cone crater located outside Flagstaff, Arizona that he is turning into a massive naked-eye observatory.


“I make spaces that apprehend light for our perception, and in some ways gather it, or seem to hold it…my work is more about your seeing than it is about my seeing, although it is a product of my seeing.”
— James Turrell

Renowned L.A. artist James Turrell recently made his Strip debut inside CityCenter, with a permanent installation entitled “Akhob, which means “pure water” in Egyptian. The artwork lives up to its aqueous namesake by washing over guests with a shower of monochromatic color. The immersive experience leaves visitors feeling refreshed and renewed.

Akhob occupies 1,200 square feet over the fourth floor of Louis Vuitton’s flagship store inside the Daniel Libeskind-designed Crystals mall. It marks Turrell’s largest “ganzfeld effect” — a visual sensory encounter altering perception through light and space — to date.



James Turrell was born in Los Angeles in 1943. His undergraduate studies at Pomona College focused on psychology and mathematics; only later, in graduate school, did he pursue art. He received an MFA in art from the Claremont Graduate School in Claremont, California. Turrell’s work involves explorations in light and space that speak to viewers without words, impacting the eye, body, and mind to heighten awareness. “I want to create an atmosphere that can be consciously plumbed with seeing,” says the artist, “like the wordless thought that comes from looking in a fire.” Informed by his studies in perceptual psychology and optical illusions, Turrell’s work allows us to see ourselves “seeing.” Whether harnessing the light at sunset or transforming the glow of a television set into a fluctuating portal, Turrell’s art places viewers in a realm of pure perceptual experience. His fascination with the phenomena of light is ultimately connected to a very personal, inward search for mankind’s place in the universe. Influenced by his Quaker faith, which he characterizes as having a “straightforward, strict presentation of the sublime,” Turrell’s art prompts greater self-awareness through a similar discipline of silent contemplation, patience, and meditation. The recipient of several prestigious awards such as Guggenheim and MacArthur Fellowships, Turrell lives in Arizona.

«‹Electric Dress› is a powerful conflation of the tradition of the Japanese komono with modern industrial technology. Prior to her conception of this work, Tanaka had appeared in a larger than-life paper dress that was peeled away layer by layer, not unlike the peeling away of Murakami’s paintings; she was ultimately disrobed to a leotard fitted with blinking lights. Tanaka began to envision ‹Electric Dress› in 1954, when she outlined in a small notebook a remarkably prophetic connection between electrical wiring and the physiological systems that make up the human body. (...) After fabricating the actual sculpture, she costumed herself in it in the tradition of the Japanese marriage ceremony. Hundreds of light bulbs painted in primary colors lit up along the circulatory and nerve pathways of her body.»



Positivity comes when we kill negativity. However, unless we can understand the emotions and vibes surrounding us, we cannot make room for the potential feel-good-atmosphere. While some gifted people can naturally sense and correct the emotional imbalance, some others have to struggle with their mood swings. For the latter, we have some incredible gadgetries, which with the mood sensors, will help you detect your mood and emotional state. The mood sensitive interactive gadgets might help to you keep up your spirits with their effective responsiveness to emotional triggers in your body and environment.

By weaving fiber optic strands as if they were yarn, this team of DIYers created a fiber optic “fabric” of sorts which features a few dozen RGB LEDs and reacts to the outside world via Twitter.  Currently, they’re raising funds to launch a company to produce the textiles, but we’re posting it here so you can be inspired to build your own.

After the strands are weaved together, groups of the strands are grouped together and aimed down the head of an LED.  Each LED is controlled via software which also connects to the web.  The electronics behind it are fairly simple and can be easily replicated using an  Arduino.


The Sound Illuminating Dress is a cleverly designed strapless dress which made the technology involved part of the style decision. Part of the dress is kept in dark fabric while the other part containing EL (electroluminescent) wire at the seam is made from light, white color which wraps in an irregular shape around the front.

The Taylor Wessing Photographic Portrait Prize 2014

The Taylor Wessing Photographic Portrait Prize 2014is a unique opportunity to see sixty new portraits by some of the most exciting contemporary photographers from around the world.

The selected images, many of which will be on display for the first time, explore both traditional and original approaches to the photographic portrait through intimate images of friends and family alongside revealing portraits of famous faces.

This year the competition attracted over 4,000 submissions in the form of editorial, advertising and fine art prints and the selected works in the exhibition include the four prize winners as well as the winner of the John Kobal New Work Award.


Kelvin is a multi award-winning photographer who has been in the business for 20 years. His latest self-promotional piece,”Makeover Madness” is a concertina booklet with images on one side and a pink color on the other side. Kelvin says, “Around each booklet is a slip of paper saying “makeover madness” and it is hand positioned to cover the model’s breasts. We wanted to reach as many people as possible with a refreshing idea.”

MIRRORCITY   London artists on fiction and reality




Catherine Balet graduated at the Ecole des Beaux Arts in Paris and worked as an artist before turning to Photography ten years ago. As a freelancer, she has been a regular contributor to various french and international magazines, also creating images for the world of fashion. She has today specialised in portraiture with an artistico-sociologicall approach of her subjects. She lives between Paris and Brighton.


MIRRORCITY explores the effect the digital revolution has had on our experiences.
London is one of the world's centres for contemporary art. MIRRORCITY shows recent work and new commissions by key emerging and established artists working in the capital today, who seek to address the challenges, conditions and consequences of living in a digital age.

JG Ballard believed that reality had already exceeded the visions conjured by science fiction by the end of the 20th century. Drawing on the digital era we now live in, the artists in MIRRORCITY respond to and address this new perception of the world.

Artists have always created alternative realities but recently they have been exploring where the digital and the physical space crossover and fold into each other.

The exhibition considers questions specific to our time such as: ‘How can we navigate the space between the digital and the physical?’ and ‘What is the effect of advanced technologies on our lives?'

The engagement, innovation and complexity of the works selected for MIRRORCITY also directly or indirectly reflect the multi-faceted character of London itself.

Artists Presenting artworks in a wide variety of media including painting, film and video, sculpture, drawing, sound and performance, artists in the exhibition are:
Mohammed Qasim Ashfaq, Anne Hardy, Ursula Mayer, Katrina Palmer, Laure Prouvost, Hannah Sawtell, Lindsay Seers, John Stezaker and Lynette Yiadom-Boakye.

New works in MIRRORCITY are by Emma McNally, Helen Marten, Daniel Sinsel, Susan Hiller and Michael Dean. New commissions are by LuckyPDF, Karen Mirza and Brad Butler, Tim Etchells, Lloyd Corporation, Pil and Galia Kollectiv, Aura Satz, Tai Shani and Volumes Project.

A specially produced ‘alternative’ newspaper has been created by Tom McCarthy for MIRRORCITY. The project was conceived as a collaboration between the author and the artists featured in the exhibition. Artists have contributed a diverse and distinctive array of texts and pictures that McCarthy has edited into an otherworldly reading experience.


Nowhere Less Now

Her work for Mirror City at the Hayward Gallery, Nowherelessnow4, is an episodic work which has four manifestations. The work begins with an antique photograph in Seers’ personal collection of her great-great-uncle George Edwards. He was a seaman on HMS Kingfisher. Inscribed on the photograph are the location and the date: Zanzibar 1890. Seers researched the photograph and found amongst the National Maritime Museum archives George Edwards’ naval service record. In 1890, his ship was part of a flotilla working to eradicate the Arab-controlled slave trade in east Africa, of which Zanzibar was a notorious epicentre. Seers noted that George Edwards’ birth date was exactly the same as hers, except a hundred years apart: he was born in 1866. For this edition of the work Nowherelessnow4 Seers has taken the coincidental birth dates, September 27 1866 and 1966, and the date of Edwards’ photograph, 1890, as points of origin. She uses them as causal nodes, points in time from which a web of connections extend. A black-hulled ship, HMS London, sat for ten years in the bay of Zanzibar as a depot for the anti-slave mission, and it is a partial replica of the hull of this ship which contains the Hayward installation, upturned as if to tip out all its dark secrets. The ship was completed on 27 September – those coincidences again! – and launched in Chatham on the following day in 1840.

The siting of the work geographically is also important. This work touches the Hayward site at the points it intersects with her already emergent narrative. References are made to Knights Templar and Masons (a theme more evident in Nowhere Less Now1), and lines from Shakespeare’s The Tempest (with its theme of a sea voyage to a demon-haunted island) underscore the relationship to the Elizabethan theatres of Paris Gardens and the old dock beneath the Hayward. Catherine’s Dock was a popular place to alight in the 16th and 17th centuries when the Thames was a main thoroughfare; the gardens provided discreet meeting places and refreshments. Even the concrete Brutalism of the South Bank is given a lyrical counterpoint in the curiously sensuous concrete tetrapods, resembling truncated torsos, which form the sea defences of one of the film’s island locations. The shot tower, built in 1826 to make lead ammunition, also finds its counterparts in the lighthouse, radio masts and communication towers that festoon the German island of Helgoland[2], still demon-haunted in its way. The characteristic method of film projection at the Hayward involves two screens, one spherical and one hemispherical mounted on a structure like a radio mast, that sometimes work in parallel but most often in series to allow separate image streams to converge in the viewer’s mind.



Text box

Text box

The license for this content.