Category Objects & Agency

Theatrical Latency: Walking Katrina Palmer’s The Loss Adjusters

bowers-quarry-2Dr Richard Allen has a published an article in the Theatre and Performance Design Journal on the audio work of Katrina Palmer.

The article introduces the term ‘theatrical latency’ as a pleasurable effect experienced when listening to sound in relation to visual perception. Latency refers to both the phenomena of audio delay (in feedback from analogue to digital conversion and the momentary lapses experienced when playing live with recorded music) and a theatrical sensation that comes from the reanimation of visual environments through aural framing. In this configuration, the notion of latency takes on a double meaning as both a recorded phenomenon and the retrieval of something dormant within physical objects, sites or materials. These ideas are be introduced through the experience of walking Katrina Palmer’s site-specific audio work The Loss Adjusters (2015) on the island of Portland (UK). The audio tracks create an extended meditation on Portland, interweaving specific locations and histories with fictional characters and ghosts of the island.

The journal can be found here.

The Garage Open Lecture Series: Mike Cooter, Alice Channer and Keith Wilson

The Fabrication Research Group welcomed Mike Cooter, Keith Wilson, Alice Channer as part of our public lecture our series at the Garage Studios throughout 2016.



Mike Cooter

Artist, curator and current Goldsmiths PhD candidate Mike Cooter  will look at the intertwined relationship of art, design and architecture with regards to display strategies, the structured encounter and acts of enclosure. Taking the development of the vitrine as a case study, this densely illustrated talk will chart an idiosyncratic path from the 1851 Great Exhibition to the present day, looking at how objects and artworks are articulated, presented and choreographed, and how architects, designers and artists have explored the co-dependency between artefact and environment.

Mike Cooter’s work investigates the structural agency of objects, be they sculpture, cinematic props or other anthropological artefacts – objects co-opted or created to drive narratives, fictional or otherwise. Interdisciplinary research resolves into audio, film, text and layered installations that incorporate correspondence, interviews, loaned and re-fabricated artefacts and archival material. He is currently post-producing a six-part radio drama about an object, Dingus, to be released in 2016, and writing a PhD on the MacGuffin at Goldsmiths in London, where he lives and works. In 2013 he curated In form express and admirable (in a sense lying, in a sense not), documentation of which can be found, alongside other projects, at Upcoming exhibitions include Fade In: Int. Art Gallery – Day at the Swiss Institute, New York (March-April), Another Reality: After Lina Bo Bardi, Stroom Den Haag (April-June) and Répétition, Boghossian Foundation – Villa Empain, Brussels, (May – August) 2016.


Alice Channer

Alice Channer has attracted national and international critical interest for her sculptures and textile works that explore the relationship between the human body, imprints, personal adornment,  and materials.  Using techniques associated with fashion and textiles – pleating, folding, cutting and draping – and often incorporating materials from high and low fashion. Lately the imprints have begun to take on architectural scale and use industrial  and ‘post industrial’ processes to mimic natural events. For her talk at the garage studios Channer will focus on her most recent body of work produced for the Aspen Art Museum; R o c k f a l l.

Solo and forthcoming exhibitions include Early Man at Konrad Fischer Galerie, Berlin, DE (2016); Half-life at Lisa Cooley, New York, US; R o c k f a l l at Aspen Art Museum, Colorado, US (both 2015); Synthetic Fibres at the Approach, London, UK (2014); Soft Shell at Kunstverein Freiburg, DE; Invertebrates at Hepworth Wakefield, Yorkshire, UK (both 2013); Out Of Body at South London Gallery, London, UK (2012).


Keith Wilson

Keith Wilson is an artist best known for his playful interventions into the fabric of everyday life, appropriating familiar domestic or industrial objects – wardrobes, shelving, fire grates, cattle pens – often in a subtly humorous way. In recent years he has made large scale galvanised steel sculptures appropriating the language of railings, street furniture, market stalls and cattle runs. These works are often ‘performative’, engaging the viewer and inviting them to interact physically with the work – leaning on it, sitting on it, or even playing around it.

Keith Wilson’s work is held in many public collections including the Contemporary Art Society; Leeds City Art Gallery and the Saatchi Collection. Keith Wilson has exhibited widely, most recently at the Royal Academy; Milton Keynes Gallery; Compton Verney and the New Arts Centre; he co-curated ‘The Object Sculpture’ exhibition for the Henry Moore Institute in Leeds and ‘Modern British Sculpture’ (with Penelope Curtis) at the Royal Academy in 2011. In 2012 Wilson made a major new commission ‘Steles’ for the Olympic and Paralympic Games, works that remain as a key part of the new Queen Elizabeth Park. 

The Garage Open Lecture Series is a collaboration between the University of Worcester’s School of Art’s ‘Fabrication Research Group’ and Meadow Arts in partnership with Worcester County Council and Worcester Arts Partnership. It presents a series of talks around aspects of research, fabrication and display. This semester the visitors include: Bedwyr Williams, Alice Channer, Alison Wilding, Simon & Tom Bloor and Mike Cooter.

Open Lecture Series: Bedwyr Williams


OpenLecturePoster_BedwyrWilliams_FINAL copy

The Garage Open Lecture Series: Bedwyr Williams 

Tuesday 2nd February


TG006, The Garage Studios, University of Worcester.

The Fabrication Research Group is delighted to announce the start of a new series of talks by contemporary artists at University of Worcester’s Garage Studios. The series gets off to an excellent start this Tuesday 2nd February with acclaimed artist Bedwyr Williams.

Williams, who represented Wales at the Venice Biennale in 2013, exhibits his work internationally and will have a solo show of his work at the Barbican Centre in London in 2016. Williams works across various media including performance, video, sculpture and text, often bringing them together as larger installations. He is interested in the friction between the deadly serious and the banal aspects of modern life. Often he satirises the role of the artist and that of the curator against this backdrop creating cruel, absurd scenarios for them to appear in.

The Garage Open Lecture Series is a collaboration between the University of Worcester’s School of Art’s ‘Fabrication Research Group’ and Meadow Arts in partnership with Worcester County Council and Worcester Arts Partnership. It presents a series of talks around aspects of research, fabrication and display.  This semester the visitors include: Bedwyr Williams, Alice Channer, Simon & Tom Bloor, Mike Cooter and Keith Wilson.

The talks take place at 5pm on Tuesdays in Lecture Room (TG008) at the University’s Garage Studios (behind Worcester News).

The talks are free and open to all, though booking is recommended for the public via

Ghost Train

Ghost Train

Fabrication Group Launch Event

Ghost Train: Fabrication and the making of Mysterious Objects

The Painter's Daughters with a Cat

Wednesday 25th November 2015. 5pm. The Garage Studios, University of Worcester. All welcome.

This event will introduce the scope and aims of the group by Dr. Richard Allen and Dr. James Fisher.

This talk will introduce a central conceit of artistic fabrication: the relationship between the making of an object and the making of fiction. It will propose how fabrication – as a central process within art making – produces mysterious and unknowable objects to think with. Artworks can be thought of as ghost machines, assemblages of materials producing spectral and inhuman encounters. Artefacts, such as paintings, sculptures and installations therefore have the capacity to be terrifying – but, because humans make them, they always retain a way out of despair (you can leave the gallery or pull the plug) even if the image of the work is impressed on your imagination. In this way, the ghost machines of art are much like devices on a ghost train, set up so that the human can come face to face with fearful things but take pleasure in the knowledge that they are actually creaturely companions. By introducing a series of paintings, films and sculptures and thinking through the ‘speculative turn’ in philosophy, this talk will consider how art making could be described as an ‘object-orientated’ language through which new ecological thinking and debate is fostered.

Image: The Painter’s Daughters with a Cat – Thomas Gainsborough, 1760