msdm a nomadic house-studio-gallery for photographic art and curatorial research, an expanded practice of the artist's book, photobook publishing and peer-to-peer collaboration created by contemporary artist paula roush
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UNBOUND 
With: David Faithful,  Jo Milne, paula roush & Print City
curated by Rob McDonald
October 20 – November 9, 2017
Herbert Read Gallery
part of All Inked  Up Book Fair, Symposium, Workshop, Exhibition 
UCA University for the Creative Arts Canterbury + The Brewery Tap Folkestone
[artists' statements]  [ All Inked Up programme newspaper



The exhibition comprises works of four artists who work within
the boundaries of the Artist Book, outlining the diverse nature
of the book format, from sequential narrative to mapping and
code to installation and interactive pieces.
The common thread of the book is also expressed in the artist’s production methods through various print methods and
sequencing within their work.

The Beauties of DECOMPOSITION, exhibition views, Herbert Read Gallery Canterbury

The Beauties of DECOMPOSITION Vitrine installation Unbound exhibition views Herbert Read Gallery, Canterbury

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The Beauties of DECOMPOSITION Vitrine installation Unbound exhibition views Herbert Read Gallery, Canterbury

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The Beauties of DECOMPOSITION Vitrine installation Unbound exhibition views Herbert Read Gallery, Canterbury

The Beauties of DECOMPOSITION, exhibition views, Herbert Read Gallery Canterbury

The Beauties of DECOMPOSITION Vitrine installation Unbound exhibition views Herbert Read Gallery, Canterbury

By the gallery entrance, a museological display case contains The Beauties of Decomposition, collaboration with Michael Hampton. Concept-specific paper is a refined substrate in the world of the artists’ book. The logic of the work is materially inscribed in the fibres of handmade paper. In the case of The Beauties of Decomposition, the paper’s meaning is derived from ‘The Book Dispersed’ project. This special edition contains a paper specimen composed of pulp from the abortive funding application for ‘The Book Dispersed’ an exhibition devised by the collective Media Instaveis/Unstable Media, blended with pulp from Michael Hampton’s magnum opus Unshelfmarked: Reconceiving the artist’s book (author’s copy), together with extra pulp from Samuel Smiles’s Self-Help (a print on demand copy purchased on eBay). The book, dedicated to the late Auto-Destructive artist and activist Gustav Metzger, is a work about dispersion in the form of a conversation between scattering and collecting/organising.

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Flora McCallica. Left: Suspension, Silkscreen printed newspapers on metal structures. Ten folios with photographic b&w silkscreen on newsprint 79.5×58 cm. Structures: 120x82x47cm each. Right: Regent’s Park Prints Seller, Photographic prints on varied papers. An ensemble of silkcreen, lithographic and laser photographic prints ranging from 20×13 cm to 83×61.5 cm.

paula roush: Flora McCallica, exhibition view, Herbert Read Gallery, Canterbury

Flora McCallica Installation Litho, silkscreen and xerox prints on industrial warehouse components Unbound exhibition | Herbert Read Gallery, UCA Canterbury

paula roush: Flora McCallica (book), exhibition view, Herbert Read Gallery, Canterbury

Flora McCallica Book (blanket edition), installation detail, Unbound, Herbert Read Gallery UCA Canterbury

Flora McCallica (book)

Flora McCallica Book (blanket edition), installation detail, Unbound, Herbert Read Gallery UCA Canterbury

At the centre of the exhibition are four new editions of Flora McCallica. These works- two hanging installations and two books on display tables- have historical and biographical references, mixing orphan photographs dated 1958 found in the Lisbon flea market, and botanical specimens from an herbarium dated 1920s deaccessioned by London Kew Gardens. Like pieces of evidence altered by the passage of time, the silkscreen and stone lithography prints have stains and patterns that are unique to each print.

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Participatory architectures (how to build your own living structures) 240 x 120 x 70 cm sculpture made of two oversize book covers (photographic digital print on canvas, wood binding), newspaper Participatory architectures, 12 pages, colour, photography on newsprint, 29cm ×38 cm, metal structure base, two linear lights with fluorescent tubes, wiring.

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Participatory architectures (how to build your own living structures), 240 x 120 x 70 cm sculpture made of two oversize book covers (photographic digital print on canvas, wood binding), newspaper Participatory architectures, 12 pages, colour, photography on newsprnit, 29cm ×38 cm, metal structure base, two linear lights with fluorescent tubes, wiring.

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Participatory architectures (how to build your own living structures) Collage photoworks Canvas inkjet prints stretched as hardcover book 42 x120 cm

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Participatory architectures (how to build your own living structures) Collage photoworks Canvas inkjet prints stretched as hardcover book 42 x120 cm

Another work recreated for this exhibition is Participatory architectures (how to build your own living structures), a work inspired by the outdated remains of a 20th century architectural utopia, a village developed as part of national housing project code-named SAAL, the experimental programme of peoples’ right to place emerged in the short experience of participatory democracy during the Portuguese revolution. The sculpture includes two oversize book covers referring to the Self-build movement in Portugal and the USA, and the newspaper The past persists in the present in the form of a dream (participatory architectures, archive and revolution) documenting a SAAL village facing extinction.

paula roush: Areopagitica (Milton’s Nose), installation view, Herbert Read Gallery, Canterbury

Areopagitica (Milton’s Nose), installation view, Herbert Read Gallery, Canterbury


Areopagitica (Milton’s Nose) is a table assemblage with self-published newspaper and clay noses created by students at St. Paul’s School ceramic studios. Through collage, studio portraiture and found material, the work references two earlier self-published pamphlets: John Milton’s 1644 Areopagitica and David Bomberg’s 1919 Russian Ballet.

 

msdm   is  Mobile  Strategies  of  Display  &   Mediation
 a nomadic House — Studio — Gallery for photographic art
curatorial research, expanded practice of the artist's book
photobook publishing  and peer - to - peer collaborations 

 

by appointment only
please e-mail to schedule a visit

paula roush 
founder


paularoush@gmail.com

House—Studio—Gallery
London SE


msdm@msdm.org.uk

school of arts  & creative industries  
london south bank university


roushp@lsbu.org.uk