Sara Bowler has based much of her work since 2003 on the
archaeological record of the British Isles. Her current interest is
in the indigenous plants of Cornwall, now often regarded as weeds in
stark contrast to the more vibrant exotics that flourish in the
county. These small, often unremarkable plants, have informed her
work for Happidrome One which will take the form of a short DV
animation and large scale drawings complemented by an audio tour
along the tracks and paths surrounding the building.
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Elizabeth Masterton will present a participatory installation, relating to aspects of the WW2 incarnation of the site as an RAF radar station. Visitors will be responsible for powering the artwork. She will also lead a 'Radar Ramble' around parts of the site detailing some of her research into its WW2 history. Both works are part of wider, ongoing research into fallible systems.
Project supported by Robotmother Ltd.
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Steven Paige’s current preoccupation is in exploring the notion of the
specialist, hobbyist, the authorial or misinformed and how practical
everyday notions of expert are precarious.
For Happidrome One, Steven explores the amateur nature of the radio
hobbyist, forming a radio club for the duration of the exhibition, setting out
and demonstrating how an individual can create their own radio set and
explore the immediate environs of Building 51 to find transmissions
emanating from strategic positions on site.
www.stevenpaige.com
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A WINDOW IN HISTORY AND LANDSCAPE
Site 16, the remaining walls of a former radar building, will be
transformed with reference to the Cornwall Archaeology Unit's
recommendations and made the container for a sound and light
installation. The work will rely upon the elements for its effect.
Reflective objects, termed 'window' in radar circles, are used as an
interference inducing mechanism. Quantities of aluminium shard, when
dropped from a single decoy plane, would show up as many planes and confuse the radar operators. In this instance all the confusion will
be contained and ordered within a building that may once have received it.
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Alison Sharkey's work for the past three years has been preoccupied with the ‘redundant’ landscape, how remnants of past occupation can be read, interpreted and re-imagined. This has developed from using large-scale painting into creating playful and disruptive interventions in the sites themselves.
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Images copyright of the artists
Photos by the artists and Oliver Sutherland
Sara Bowler Elizabeth Masterton Steven Paige Paul Ridout Alison Sharkey