Artists: Aaron Carpenter, Guido Ignatti, Emilie O’Brien and Eleanor Morgan.
Curated by Liz Bruchet


By hosting an exhibition in a domestic space, a familiar set of dichotomies is put forward: public and private, collective and individual, home and exile, and transience and permanence. The practices of the artists participating in See You at Home extend beyond this territory to work with the physiological, psychological and political space of the body and its environment. They consider common anxieties and the need for security at both a local and global level, and trace emotional parameters that distinguish a home from any other place. They give weight to the material and media cultures that are so much a part of us, and the events that disrupt, or otherwise mark, the passage of time.
Aaron Carpenter’s work Rerememberer elevates a colloquial term to the very public and provocative format of the banner, playfully articulating the circular interaction between experience, memory and language.
Working from his home in Buenos Aires, Guido Ignatti designed a motif that considers Camberwell as a historic site of sickness and healing. Set on paper adhered to the living room wall, the resulting work, entitled Holyhome, highlights the quiet legacies of lives lived and the often unacknowledged and imperfect architectural and decorative details that inform our experiences.
Charlie Tweed’s Notes 1 video series enacts a fanatical desire to gain control through our environments. These “video transmissions”—paranoid dispatches sent from an insidious but mysterious group—are part-instructional films, part-manifestos, promoting extreme survival techniques such as mass flooding and re-wilding.
Emilie O’Brien’s sculpture some conditions of normal takes into account the ephemeral space of the spare bedroom. Bits of fabrics dangle like skins on uncertain cardboard support to suggest the tenuous place between dependency and independence, between coming together and unraveling.
Occupying a wall in her bedroom, Miranda Peake’s collage When you were good inverts the idea of private space. A swirl of visual anecdotes distills personal experiences into symbols and makes vulnerabilities tangible through familiar objects.
Mindful of the mating rituals that underlying creative and scientific impulses. Eleanor Morgan’s drawing The Gentleman Callers revisits early submarine designs, while the sound work Courting Moths gives presence to the unlikely romances that unfold in basement crevices.

Liz Bruchet - curator.

This exhibition is the third incarnation of See You at Home, a series of projects and performances held at the private residence of 145 Grove Lane


Site-specific installation: enamel, paper on wall

See you at home. London - UK
27 to 29th march 2009