HOUSE-STUDIO-GALLERY


The visual interpretation of space production, from everyday spatial practice to contested spatiality, has been a consistent pursuit of my practice. Over the last five years, the focus has been the artist’s house-studio-gallery, a space defined by its triple purpose of living, creating and curating.
Since 2015, I have occupied four different live/work self-contained units, all interim spaces located in South/ East areas of London. I transformed them into temporary house-studio-galleries and my photographic practice became an enquiry focused on its intimate spaces and outdoors context, an expanded container for domestic life, artistic production and exhibition-making.

Francisco Varela, 2020
The Expanded Practice of the Artist’s Book: 
Immersion in the Artist’s Museum

In this text, I reflect on paula’s artistic practice. It is a photographic practice and takes place in different formats (or mediums), including installation and publishing. For the past five years, paula has been developing this practice in spaces that are simultaneously home, studio and gallery. It is pertinent to reflect on this live–work method as it is a singular artistic activity, articulated in a unique way with the making of artist’s books (which interests me particularly, since I am also a “maker” of artist’s books).  My intention with this reflection is to contribute to an understanding of the unique characteristics of the artist ‘s book practice. I am interested in the ways paula’s artwork is in its totality anchored in an expanded practice of the artist’s book.

Full essay [pdf]


(…) like the artists’ studios analysed by Jenny Sjöholm (11) my studio can be seen as an experimental archive in itself, with all types of collected objects being taken out and incorporated into installations set-ups, silkscreen prints, photozines and other practices that translate the contents of the storage boxes into new patterns that further loose its connection to its original site of production. Thus, not surprisingly, it is frequently impossible to identify the provenance of the photographs on display in any of my installations.

Extract from: 
paula roush: Chaos of memories- Surviving archives and the ruins of history according to the found photo foundation [text  here]
In Order and Collapse: The Lives of Archives
Editors: Gunilla Knape, Niclas Östlind, Louise Wolthers, Tyrone Martinsson,
Art & Theory Stockholm  2016

 11 Jenny Sjöholm, “The Art Studio As Archive: Tracing The Geography of Artistic Potentiality, Progress and Production,” Cultural Geographies 21(3, 2014), 505– 514