Posts Tagged ‘2024’

Under Construction

Onsite: 14 September – 20 December 2024
This project at Stanley Picker Gallery is part of London Design Festival 2024. 

‘Under Construction’ looks at more than a decade of ambitious live-build projects led by architect Takeshi Hayatsu, working together with an evolving cohort of collaborators, participants and community partners (including 121 Collective, Community Brain, Citizen Zoo and Dorich House Museum…) and developed and delivered collectively each year with the Unit 5 students from the Department of Architecture and Landscape at Kingston School of Art, Kingston University.

Since 2011, eleven innovative building projects have provided a series of imaginative and highly resourceful responses to the specific opportunities and challenges of chosen locations around the borough of Kingston and elsewhere, as well as to communities and their needs. ‘Under Construction’ will present visual and tactile materials on these diverse projects together with a specially commissioned film by films that will consider their impact on the collaborators and participants involved over the years. The film will follow the life of past projects as they are housed at various sites in Kingston, Tolworth and beyond, and how certain materials have since been recycled to become part of new community build projects in collaboration with Citizen Zoo, Community Brain, and 121 Collective – formed by student alumni of Hayatsu.

As a key part of ‘Under Construction’, an entirely new live build will take the Stanley Picker Gallery’s unusual island location as the site and subject for a series of evolving architectural interventions both inside and out, that will aim to shift and alter how the building itself behaves as a public gallery and ‘expanded studio’ and how visitors in turn respond and interact. Works will commence in September, during London Design Festival 2024, with elements under construction throughout the exhibition period and then remaining in-situ beyond.

Hayatsu has an approach to teaching through making. The projects have often started with a research trip to his home country Japan, where his students encounter traditional building methods and develop new skills and designs based on these experiences. Accordingly, each project has been developed to evolve through a collective and haptic understanding of materials, construction and craft techniques, and delivered through shared core values of community engagement and environmental sustainability.

Projects such as the ‘Kintaikyo Bridge’ (2011-12), a replica of 17th century Japanese wooden bridge or ‘Woodland Chapel’ (2013-14), a structure made for a local St Johns Primary School both made entirely from donated and recycled materials are exemplary of the economy of means and the ethos of DIY builds. ‘Temple’ (2014-15) and ‘Seminar House Pavilion’ (2015-16) were created for the garden of Dorich House Museum, each championing special techniques such as elaborate carpentry or yakisugi, a Japanese method for scorching timber. The following year, the ‘Barbican Tea House’ (2016-17) was a burnt timber cladded tea house specially commissioned for the exhibition ‘The Japanese House: Architecture and Lift After 1945’ at the Barbican Centre London, as a collaboration between architect Terunobu Fujimori, Takeshi Hayatsu and architecture and product design students from Kingston University.

‘SHEDx’ was a community engagement programme initiated by a community interest company The Community Brain in Kingston. Based on the notion of the university as a centre for productions and an incubator of new ideas, they built a series of sheds to establish a strong relationship between Kingston University and the local community. As part of the project ‘Heritage Shed’ (2017-18) housed a display an allotment culture. Like many other builds, this shed travelled to various contexts including the Victoria and Albert Museum, Hampton Court Flower Show and the Garden Museum. Hayatsu’s idea of democratising crafts have continued to unfold through recent collaborations such as the ‘Green Shed’ (2018-19) and ‘Nature Hide’ (2019-21), which involved schoolchildren decorating individual wooden panels with locally sourced clay paint, as well as public engagement elements of the ‘Surbiton Yatai’ (2017-18) and the ‘Lantern Procession’ (2023) launched with public processions.

Throughout the duration of ‘Under Construction’ at Stanley Picker Gallery, workshops and other public events will provide a chance for visitors to learn about and get involved with various elements of Hayatsu’s exciting live build project.


Takeshi Hayatsu is a Japanese architect based in London. Hayatsu studied architecture at Musashino Art University in Tokyo and Architectural Association in London. He worked for David Chipperfield Architects, Haworth Tompkins and 6a architects before establishing Hayatsu Architects in 2017. Alongside his practice he teaches MArch unit in Kingston School of Art. He also conducts annual summer school in Japan with Grizedale Arts. He is a member of Design Review Panel at Harrow Council.

Department of Architecture and Landscape, Kingston University. Architecture and Landscape are richly interconnected, and encompass aspects which are intellectual and embodied. Our situation as part of the School of Art and Architecture is key to our identity. The large workshops and the ethos of thinking through making speak of the inherent dynamic of how we see knowledge generated in the productive tension between tectonics and representation. This is a fundamental and essential part of how the department seeks to enable its students; firstly through a direct and immediate connection with how things are made and the nature of the spaces that result; and secondly with how it is represented critically.

121 Collective consists of architectural designers and makers with a special appreciation for craft, community and sustainability. After being introduced to the local community interest company The Community Brainduring their time as architecture students at Kingston School of Art, they have continued to work closely together on a range of community-led projects which revolve around inclusivity and play. 121 are based at Tolworth Main Allotments at the Farm of Futures, where they have converted an abandoned shed to their headquarters, creating a sustainable community hub which supports the growth of local ideas as well as food, and promotes cross-generational skill sharing, circular economy and the upcycling of materials. (Women’s Independent Collective) films, was founded in 2008 by Abbe Leigh Fletcher, Petra Reynolds, Sabela Pernas Soto and Claudia Vásquez Ramírez. They are a growing network of filmmakers from the MA film making course at Kingston School of Art. Their aims are to tackle gender inequality through film and challenge established hierarchical modes of production by working collectively across continents. To make filmmaking more accessible to women and girls and to constructively celebrate international women’s perspectives through film.

The full list of collaborators, as well as public events and activities programmed throughout will be continually updated on this page.

Stanley Picker Fellowships in Design & Fine Art 2024

The Stanley Picker Gallery at Kingston University is seeking to appoint two contemporary practitioners to the Stanley Picker Fellowships in Design & Fine Art 2024.

Each Fellowship provides up to £16,000 and valuable access to the extensive material workshops, technical resources and expertise within Kingston School of Art and the wider University departments, to support a practice-based, innovative research project that will result in an exhibition of international standing at the Stanley Picker Gallery.

See our Fellowships pages for information on previous recipients of the Stanley Picker Fellowships and About to learn more about the Gallery and its wider programme.

This year’s Fellowship selection panel will include Meneesha Kellay, Senior Curator, Contemporary at Victoria and Albert Museum (V&A) and co-curator of last year’s British Pavilion at Venice Architecture Biennale, Curator Borbála Soós who was appointed as Stanley Picker Gallery Curatorship in 2023 and David Falkner, Director of Stanley Picker Gallery and Dorich House Museum at Kingston University. 

The Stanley Picker Gallery and our University partner-venue Dorich House Museum are committed to working ambitiously, innovatively and inclusively to foster equality and diversity across all of our activities and operations. We strongly encourage participation from all protected characteristics to achieve fairness of opportunity for all. We fully acknowledge our environmental responsibility and our duty to reduce our impact on the planet through transforming our working practices.

Please complete the short Enquiry Form below to receive the full details of the Stanley Picker Fellowships and application requirements. If you have any issues receiving the full details please contact the staff team please call us on 0208 417 4074.

Once having received the full details, if you need advice or support with completing your application please email or call us on 0208 417 4074.

Deadline for Applications: 5pm (BST) Monday 1 July 2024

Pre-Application Online Q&A: Thursday 6 June 1-2pm, a recording of the event is available to watch online HERE.
Find out more about role, the resources available to fellows at Kingston University and ask questions the application process at our informal, online pre-application Q&A with Stanley Picker Gallery Director David Falkner, Curator Borbála Soós and Artist and former Fellow Larry Achiampong. 

Thomas Pausz

Haunted Ecologies

Onsite: 25 April – 13 July 2024
Launch Event: Wednesday 24 April 6 – 8pm | All Welcome

Stanley Picker Fellow Thomas Pausz’ solo show Haunted Ecologies intersects the research fields of media, ecology and ‘hauntology’ – the understanding that our perception of contemporary environment and culture is always haunted by spectres of the past and by hopes and visions of the future – to propose an immersive installation echoing the transformations of local ecosystems.

The Stanley Picker Gallery is situated on an island along the Hogsmill River, a tributary of the Thames whose riverbank flora is immortalised in John Everett Millais’ famous painting of Ophelia. This exhibition presents a collection of works inspired by the ecology of the surrounding river. The installation echoes the transformations of the river over time and traces how, from Eadweard Muybridge’s landscape photography to contemporary digital image making techniques, the media constellations we design are evolving with and changing our perception of the ecosystem.

As a chalk stream, the Hogsmill River has an increasingly endangered ecology due to excessive extraction of water and increasing sewer discharge. This influx of sewage water on the one hand radically raises the nutrient level of the river, benefitting certain plants and hence causing changes in biodiversity, on the other it also introduces a large variety of harmful polluting substances.

Eadweard Muybridge (Kingston Upon Thames 1830 – 1904) became world renowned for his innovative studies of animals in motion, but was also an accomplished landscape photographer. In her book River of Shadows Rebecca Solnit1 details how Muybridge often superimposed separate images of clouds onto his photographs, creating composite images to achieve more dramatic visual effects. The original photograph at the entrance of the gallery was taken in Yosemite on Muybridge’s travels through America c. 1872. This work forms part of the Royal Borough of Kingston’s Muybridge Collection now archived at Kingston University’s Town House Library.

Darkroom is a video projectionwith 4.1 sound that links to Pausz’ research on 19th century spirit photography, and how the techniques developed to manufacture ‘ghost’ images were later used to modify landscapes. William H. Mumler was the first to introduce this genre as he became known for capturing iconic translucent ‘spirits’ which appeared next to portraits of living subjects. Mumler was later taken to court and prosecuted for fraud, and while never convicted, he was publicly shamed and eventually threw all of his photographic materials into the Hudson River2. During his early Fellowship experiments, Pausz took photos of the Hogsmill River and immediately developed them in the darkroom, going back and forth between the two. His film, shot with a so-called phantom high-speed camera, documents the process of developing the images, and is accompanied by a composition with sounds recorded by Pausz near Tolworth using hydrophones to capture sewers discharging into the Hogsmill. The soundscape was composed by the artist in collaboration with Tom Manoury to create the immersive environment.

Pausz has been researching techniques to filter and to revitalise water, especially in relation to environmentalist, philosopher and inventor Viktor Schauberger, who was specifically interested in the flow of water and the potential energies harvested from it; and Dr Masaru Emoto, whose research centred around the memory and molecular structures of water. Building on their ideas, Schauberger’s Cabinet consists of a neon light of a whirlpool, a lightbox with elaborate 3D printed funnels that can help animate and energise water, as well as smaller lightboxes with 3D printed reliefs capturing the unique patterns droplets form as they hit the surface of water.

In the second gallery, Sources features four videos, each taken of a specific site where sewage water enters the Hogsmill River. The footage documents the plant life, insects and suburban fabric of the ecology of the sites, and was shot using various methods, including a new rendering technique for 3D scanning. The accompanying sound, also composed of recordings from the sites, feels harsh with frequent interruptions and translates the experience of the sudden changes and disturbances in the river.

1) Rebecca Solnit: River of Shadows. Eadweard Muybridge and the Technological Wild West. Bloomsbury, UK, 2003.
2) Tony Oursler: Notes on Mysticism and Visual Transects. In: Séance. Ed. by Shannon Taggart, Atelier Éditions, Los Angeles, 2022.

Public Events

Artist Talk & Guided Tour | All Welcome
Main Lecture Theatre, Kingston School of Art
Thursday 25 April 2 – 4pm 
Meet our Fellow Thomas Pausz and learn more about his practice, followed by a guided visit to his solo exhibition at Stanley Picker Gallery. 

Curator’s Tour | All Welcome
Thursday June 27 12.30 – 1.30pm
As part of the London Rivers Week, Stanley Picker Gallery Curator Borbála Soós will lead a free lunchtime tour in the exhibition. Book your free ticket HERE.

Thomas Pausz
is an artist and designer born in Paris and based in Reykjavík. Pausz holds an MA from the Royal College of Arts (UK) and a BA in Philosophy from Paris X University (France). Pausz´ fictional ecosystems take various forms to explore unforeseen interactions between humans, non-human life forms, and media. His worldbuilding projects are informed by field research in specific environments, and critical dialogues with researchers in the fields of biology, climate science, and bioethics. Pausz puts a particular emphasis on the design of exotic technologies as a medium to redefine interspecies relations. Can VR for pollinators, software to read seashells, or ´spectral´ wildlife photography refocuses the human gaze and offer poetic spaces, where biological and technological are renegotiated? Recent projects include Hide & Seek at Listval Gallery, Reykjavík; Interspecies Futures at Centre for Book Arts, New York; Nature in Transition, Shifting Identities at The Nordic House, Iceland; The Wildflower at Hafnarborg Museum, Iceland; The Swamp Pavilion at the Venice Architecture Biennale; Species Without Spaces at Atelier Luma & Istanbul Design Biennale; Food: Bigger than the Plate at the Victoria & Albert Museum, London UK and Out of the Sea at Passerelle Contemporary Art Centre Brest, France. Previously he was a fellow of the Academy Schloss Solitude (DE), artist in residence at the Politics of Food programme at the Delfina Foundation (UK), and member of the interdisciplinary Swamp School (LT).

Thomas Pausz was appointed a Stanley Picker Fellow in Art and Design in 2022. The Open Call for Applicants to the Stanley Picker Fellowships in Art & Design 2024 opens in May with a deadline of 1 July.

Larry Achiampong

Onsite: 25 January – 28 March 2024

Caution: Contains flashing lights and themes of a sensitive nature including depression, anxiety, suicide and racism. Please talk to a member of staff if you have any questions.

Stanley Picker Fellow Larry Achiampong’s show centres around two moving image works, processing the imprints of depression, inherited trauma, digital anxiety and Black Masculinity. The films delicately unfurl the tensions of dislocation, lost kin and grief, while placing the visitors in an environment filled with sculptural elements, Ashante stool, games and karate mats, reflecting on the Okinawan karate’s ‘hard-soft style’.

A Letter (Side B) 20 mins (2023) looks at the affective impact of history, immigration and geographical separation on two brothers living in Britain and Ghana. Through the nuanced uses of current and older technologies, visuals, sound and recollections of lived experiences and conversations, the film points to the wider social and political consequences of institutional structures and behaviours that threaten the lives of migrants and refugee families. The piece collapses time, exploring how the past interrupts and impacts in the present and incorporates recent footage filmed by Achiampong in Ghana as well as archival footage from The Museum of African Art: The Veda and Dr Zdravko Pečar Collection in Belgrade, Serbia. Speaking from a deeply personal perspective, the film utilises a ‘hacked’ Game Boy Camera, which Achiampong modified to enable the capture of moving image via HDMI. Through the marriage of storytelling and the use of retro technology, the exploration of time travel and the concept of ‘Sanko-time’ becomes possible. Coined by Achiampong in 2017, the term relates to the Ghanaian Adinkra symbol and indigenous Akan term ‘Sankofa’, meaning to ‘go back and retrieve’. The stools, fabricated in the workshops of Kingston School of Arts to Achiampong’s design, are modelled on the typology of Ashante furniture from Ghana and include Adinkra engravings. You are invited to play the Oware board game in the exhibition, please speak to a member of staff to learn the rules and collect a set of marbles.

A Pledge 20 mins (2024) is a new work that explores the interconnected states of generational trauma, mental and physical health and communal agency. The film begins with the story of a driver and his strained relationship with his father. Depicted through a third-person monologue (voiced by Larry’s son, Sinai Lee Achiampong-Rose), the segment addresses issues of abandonment, inherited trauma and seclusion, whilst holding the rejuvenated promise of connection through the act of driving which the motorist and his father share. Repurposed older technologies, in particular Game Boy Camera moving image presents the story like a driving-based videogame. Shot in 4K resolution at 60 frames per second, the second part of the film depicts a father and son engaging in the practise of Gōjū-Ryū Karate. ‘Gōjū-Ryū’ (剛柔流) is a Japanese term meaning ‘hard-soft style’ used in traditional Okinawan karate to describe the combination of hard and soft techniques.

Games in the Exhibition: You are welcome to use the gaming corner at the Gallery entrance, including video games The Legend of Zelda – Majora’s Mask; Final Fantasy Crystal Chronicles and the Oware board games inside the exhibition. Please speak to a member of staff to learn the Oware game rules and collect a set of marbles to play.

Associated Events | All Welcome
Artist Talk: Thursday 25 January 2-4pm
Main Lecture Theatre, Kingston School of Art, Grange Road

Film Screening: Wednesday 13 March 6-8pm
Town House Courtyard, Kingston University, Penrhyn Road, KT1 2EQ
Q&A with Larry Achiampong followed by a screening of his epic film Wayfinder

Bio: Larry Achiampong (b. 1984, UK, British Ghanaian) is an artist, filmmaker and musician. He completed a BA in Mixed Media Fine Art at University of Westminster in 2005 and an MA in Sculpture at Slade School of Fine Art in 2008. Achiampong was awarded the Stanley Picker Fellowship in Art and Design at Kingston University (2020), was shortlisted for the Jarman Award (2018/2021) and received the Paul Hamlyn Award (2019). Recent major projects include Genetic Automata (with David Blandy) at the Wellcome Collection, London (2023-24); Wayfinder at Turner Contemporary Margate, MK Gallery Milton Keynes and BALTIC, Gateshead (2022-2023); Liverpool Biennial (2021); Relic Traveller: Where You and I Come From, We Know That We Are Not Here Forever, Phi Foundation for Contemporary Art, Montreal (2021); When the Sky Falls, John Hansard Gallery, Southampton (2020); Pan African Flag For The Relic Travellers Alliance & Relic Traveller, Phase 1, 019, Ghent (2019); Dividednation, Primary, Nottingham (2019).

Credits: ‘A Letter (Side B)’ (2023), ‘A Pledge’ (2024) and ‘A Funeral’ (forthcoming) form part of the series ‘Ghost_Data_’ co-commissioned by The Mosaic Rooms, Stanley Picker Gallery at Kingston University and Heart of Glass.

Special thanks to: David Falkner, Faith McKie, Borbála Soós, Natalie Kay, Tat Whalley, Aylish Browning, Rebecca Moss and the whole team at Stanley Picker Gallery; Chrissoula Spiropoulou, Dave Hallett, Giuseppe Valletta (Kingston School of Art Moving Image Studios); Théo Welch-King, Camila Colussi (Kingston School of Art workshops);Mark Wayman, Megan Visser and Charles Stanton-Jones (ADi AV Solutions); Copperfield Gallery, London; Marie and Indran Tanabalan (Kaizen Ryu Karate Do Seiwakai East London); Hayleigh-Joy Rose; Sinai Lee Achiampong-Rose; Zael Grace Achiampong-Rose; Louise Searle; Reece Straw; Ian Woods; Veronica Grace Adjei, William Anderson; Laura Achiampong; Simeon Davis; Emily Gee; Angelina Radaković; Rachel Jarvis; Benjamin Cook (Lux Moving Image); Coli Burch (Verve Picture); Nefertiti Oboshie Schandorf.