Between Space and Place is the first exhibition by Studioxyz, a newly formed collective of artists

whose research based practices extend beyond the confines of their studio walls. The works on show reveal
each member's venture into the opaque territory that lies between the universal and the specific, between space
and place.

Sited in the upper reaches of a retail unit in historic central Bath, this exhibition requires the viewer to journey
through the eviscerated carcass of a building before arriving at their destination. The bone-structure of the attic
room remains as it was found, the artworks overlaying existing strata which hint at previous occupancies. A
hastily erected plasterboard partition, grade 2 listed walls and Georgian cornicing all patiently await their next
custodian, meanwhile painting, film, and sculpture co-opt and gently interact with each available surface.

_________________________________________________________________________________________

Mike Newton’s melancholic paintings position the temporary domain of the caravan as a mediator between
wilderness and landscape. Through repeatedly working his images of caravans he derives a sense of the
abjectness of this nomadic dwelling.

Similarly Fiona Cassidy’s tiny fabric buildings emerge from her working and reworking of an iconic house shape
in an exploration of what it might mean to transform four walls and a roof from a house into a home.

Emily West takes discrete visual elements from very specific locations using subtle variations and layering to
construct abstract animations which expand the original viewpoint. They are at once particular to a place and
universally all places.

By using walks as her starting point, Lydia Halcrow creates layered depictions which chart her experiences and
seek to capture the impermanence that surrounds us. Her canvases become quasi-maps, both a record of her
explicit journey and a map of every-place.

Drawing on the concept of displacement which resides at the core of her practice, the translucent layers Ce
Ponsonby builds into her figurative paintings engender a visual disorientation leading to a sense of flux and
ambiguity.

The limitations of painting are stretched to breaking point by Linda Khatir whose installations integrate a
multitude of painted units into a chosen location. These units swarm over surfaces colonising the space and
forging their own particular habitat.

To build her sculptural installations, Anne Egan seeks out discarded materials at each exhibition site and
working with pattern, skews mundane, workaday objects, often by co-opting craft techniques, into meditations on
form.

The looped and layered footage of Michelle Whiting’s films tell the story of a place in time. Her in-depth,
detailed and prolonged investigations into specific sites transport viewers to another realm.

Gathering embodied memories, Dawn Lippiatt uses familiar objects to fold uneasy stories into her sculptures.
The work inhabits the territory of emotions exploring the fragility of life and in-particular how experience shapes
the individual.

Anna Gahlin uses the immediate locality of this exhibition to engage with the ephemerality of colour and its
place in our memory. Successive additions and removals of pigment result in exquisite surfaces which cling
precariously to their supports intimating the impermanence of any condition.

(Image credit © 2011 blackdog photography)