Finissage for Without at Chandelier Projects

The finissage of Without features poetry reading by
Liz Berry and performance by Simon Clark.

Liz Berry (Black Country Chatto and Windus 2014) is a poet. Her debut collection, Black Country, published by Chatto & Windus in August 2014, was a Poetry Book Society recommendation, an Observer Poetry Book of the Month and won the Forward Prize for Best First Collection.
“vowels ferrous as nails, consonants / you could lick the coal from. / I wanted to swallow them all”

Simon Clark is an artist and lecturer working with words, music and live performance. He has written a PhD on zombies and is currently collaborating on a range of projects with the artist and musician Jenny Moore. Past works include
I Go to Church to Count the Pews and The Postcard Project.

Simon also wrote the essay Americium 241 that accompanies Without.
Simon Clark YouTube

Liz Berry reading one her poems, videoed by Sheridan Seraphin

Simon Clark performing with tape measures

New Studio

I have moved from the big loft space in SchlesischeStr. in Kreuzberg to Biesenthal, 45km from Berlin. This will allow me to spend more time outside and by the lake and to build functional architectural sculptures which live outside.

The first project is to finish restoring the small 1970’s GDR holiday house.

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Working space


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The garden


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Ferns uncurling

Without at Chandelier Projects














Press release

A Tree

Its trunk is a beam from an old Berlin apartment block, the branches are made from timber usually used as roofing slats. It forms a sparse shelter: a putative tree. At the finissage, people may sit under it.

A Bench

A copy of a Berlin street bench, but bowed to face outwards, as on a circular seat that surrounds a tree.

Studio Shelves

The kind of shallow shelves that I use in the studio to set paintings-in-progress on. Some of the paintings on the shelves are square panels that are near to monochrome, others are more pictorial. The wall paintings are painting as a kind of architecture.


We had a tonne of engineering bricks for Outwith, our last show. Most of them have been stolen in the meantime, but there are still enough to sit on.

A Giant Egg

Its profile is Euclidian in shape and it sits precariously on a tripod-plinth. It has a mottled, matte surface. The scale of it is the same as the elephant bird egg. They were the largest birds that have ever existed. They are long extinct and lived only in Madagascar. When I went to Madagascar they sold replicas of the eggs in the market for 5 Euros. I bought one but when I got to the airport the customs called me in and said that they are real and must not be taken out of the country. Apart from feeling mortified with shame, I was also baffled as to how they could be real. The customs man said that the villagers find the egg fragments and stick them all together…

An essay by Simon Clark accompanies the artists’ work.

About the artists

Roxy Walsh and Sally Underwood met at Braziers International Artists’ Workshop in 2006 and have worked together since 2011. Their most recent exhibition was ‘Outwith’ at Art Exchange, University of Essex, in January 2015. They were shortlisted for the MAC International in 2014 and their exhibition ‘Dependent Rational Animals’, with a catalogue text by Anne Enright, was at Towner, Eastbourne, in 2013. ‘Without’ at Chandelier is their sixth exhibition together.

Roxy Walsh (born County Tyrone, 1964) attended Manchester Polytechnic. Her work was shortlisted for the John Moores Painting Prize in 2014. Recent solo shows include ‘Two Tongues Tied’, Leyden Gallery, London; ‘Body Language’, Galerie Peter Zimmerman, Mannheim and ‘The Lady Watercolourist’ at The MAC, Belfast.

Sally Underwood (born Berkshire, England, 1966) attended Chelsea School of Art and the Royal Academy, London. Recent exhibitions include ‘Time Being Time’, Leipzig (2012) and ‘Work, Essays and Observations’, Berlin (2011).

New Website for Project with Roxy Walsh

Ahead of our upcoming exhibition at Chandelier Projects in London, our new website at is now live.

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In Conversation on Outwith Art Exchange



Sally Underwood and Roxy Walsh in conversation
Wednesday 11 February 2015

Art Exchange, 6:00 – 7:00pm

Come and join artists Sally Underwood and Roxy Walsh sitting under a tree, in conversation with curator Jess Kenny. Together they discuss the ideas behind ‘Outwith’ and why, for the last five years Sally Underwood and Roxy Walsh have worked collaboratively. Developing a symbiotic relationship where painting and sculpture respond to each other, they dissolve distinctions while inhabiting the same space.

Pull up a seat, grab a beer and find out more about a fascinating partnership that has created this inspiring and thought-provoking show.

Admission free and all welcome. Refreshments served.

OutWith at Art Exchange Essex University

OutWith, with Roxy Walsh, is at Art Exchange at the University of Essex from January 12 to February 14 2015. It is the fifth exhibition of our collaborative project and follows on from Annunciation at the MAC in Belfast in 2014 and Dependent Rational Animals at Towner in Eastbourne.

A catalogue will accompany the exhibition, which includes a text by George Vasey.

For more information about the gallery and opening times and directions, see Art Exchange.


The sculptures are made from simple base materials: engineering bricks, plaster bandage, tiles cut from bookbinding leather and timber latten – all chosen for their rudimentary qualities and potential for transformation. The engineering bricks are the same as those used to construct the imposing north and south towers on the university campus.




The flimsy branches of the tree intersect with Roxy’s watercolour wall drawings and panels.





A builder’s tub covered it with many layers of plaster bandage  is set beneath Roxy’s grey wall drawing and watercolour panels.




Windows in the gallery offer a view of Wivenhoe Park, home to many extraordinary oak trees, which lies just beyond the gallery.



Details from the exhibition


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Annunciation at MAC International 2014

This exhibition is the fifth in the collaborative project with Roxy Walsh. The work is based around Simone Martini and Lippo Memmi’s  Annunciation (1333)

All Cropped

It brings together Monachos a porcelain sculpture (whose title is derived from Latin terms for monk or a monastic life) and wall drawings and panels from Roxy Walsh. The paintings are made with watercolour and loose pigment, and build gradually from small brushstrokes directly onto the gallery walls.  Monachos sits on a highly pigmented silicon mat laid up a low steel plinth.


Monachos Straight On
Monachos Top



Roxy Top Left





Installing at the MAC

Roxy Walsh is currently installing the next exhibition in our collaborative project at the MAC in Belfast. The show opens on 30th October.

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Selected for MAC International 2014

MAC International 2014

MAC International is the MAC’s first ever open arts prize, offering professional artists worldwide the opportunity to exhibit in the MAC.

A substantial prize of £20,000 will be awarded to one artist deemed to have made an outstanding contribution to the exhibition.  This is the largest art prize in Ireland and one of the few major prizes in the UK.

The exhibition, which runs across all three MAC galleries, will offer you the very best in contemporary visual art across all art forms including sculpture, painting, photography, film, installation and performance.

MAC International will build on the innovative visual art practice built up by the MAC and will offer a similar experience to the Turner Prize in Derry-Londonderry as part of 2013’s City of Culture.

A jury of respected international curators have whittled down over 1,000 entries to the final shortlist of exhibiting artists. The winner of the £20k prize will be announced on 30 October at the MAC.

Proposal for MAC International 2014

We have been working together since 2011 and have made three linked exhibitions. Dependent Rational Animals was at Towner in Eastbourne in the summer of 2013.

For MAC International we would like to show a small ceramic sculpture, Monachos, together with a simple geometric painting from floor to ceiling on the gallery wall.

In Simone Martini’s Annunciation , Gabriel’s words to Mary are written upside-down, apparently so that God could read them. Monachos comes from the Greek, meaning alone, but the term now more usually refers to the monastic life. As in the Simone Martini painting where architecture (the architecture of the panel as well as the architectural imagery within the painting) provide a frame for action (radiating, announcing, revealing), we aim to produce a dynamic yet contained relationship within and between the elements of our works in the gallery.

Constructed at the Europaen Keramic Work Centre (ekwc) in Netherlands, Monachos was made as an experiment with allowing porcelain to do what it is rarely allowed to: bulge and crack in the kiln. The individual blocks are slip cast porcelain, fired initially to make them hard enough to build with. The blocks were then constructed into the final, form, using a quickly-built shelter or bunker as the loose reference. Glaze was painted between them so that they would be fused together on the second firing. The complete structure was deliberately fired too fast and too hot so that the blocks distorted and cracked. The work’s final form represents a truce between the materials – the porcelain’s urge to distort constrained by the rigid, glazed seams between the blocks.

The wall painting will be more architectural than pictorial, a field of colour made up from small repetitive brush-strokes, with reference to the tradition of the directional “Light” of epiphanies, annunciations and revelations. The contradictory tendancies of materials in Monachos is further developed through a geometric and architectural use of watercolour, the most fragile and luminous of paints.

There are images and information on our previous projects on our blog at

We would like to use this opportunity to try out a simpler (because more concise) syntax between the works.


Drawn2gether at GiG Munich

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OPENING: 5th SEPTEMBER 2014, 18:30-20:30 – SAVE THE DATE!!!

[Exhibition open from the 6th of September till the 3rd of October – by appointment only]

After a long break GiG Munich begins season 2014 with drAwn 2gether, a group exhibition featuring 12 artists connected with the gallery, both directly and indirectly. Despite widely divergent practices, each had agreed to submit one drawing on the condition it is the standard A2 landscape in size. What the drawing is – this was left for the individual artist to decide.

As a premise then, the show takes up the old and somewhat tired question of medium: on the one hand art theory’s preoccupation with how to classify, assess and give value to the fact that the arts are diverse rather than one; on the other, philosophy’s affirmation of the one essence of art. But while it acknowledges the tension inherent in these two concepts of art, it makes no serious claims to that effect. Instead, it makes use of this tension to bring together an otherwise disparate group, while simultaneously allowing for their differences. Whereas the restriction in format is meant to serve as an individuating device, spotlighting the artist’s particular set of concerns, the call for drawing affirms art (as Adorno righty notes) a free movement of discrete moments.

The list of exhibiting artists:

Alasdair Duncan

Jo Love

Robin Mason

Richard Moon

Rebecca Partriage

Joanna Phelps

Robert Rush

David Small

Diana Taylor

Will Tuck

Sally Underwood

Daniel Wallis


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Stage Set for The Play About the Baby

play poster

‘The Play about the Baby’ by Edward Albee
A Play in two Acts

Showcase at Play2C Studio Theater

Directed by Ali von Stein
With: Susan Patrick, Ric Oquita, Fanny Schmid, Stuart Meyers

In a time where unpleasant experiences and undesirable outcomes can be deleted, postponed or kept out of sight with the click of a mouse or the tap of a finger, what happens when an intervention kicks down your door?
What if we could find a formula for change and the growth of human consciousness and what if there was a theater where the audience is put through the same process as the protagonists of the play.
This and more could happen to you in ‘The Play about the Baby’, a brilliant and provocative two act play about perception of reality and manipulation of perception. ‘Girl’ and a ‘Boy’ a young couple with baby lost in sex and infatuation encounter ‘Man’ and ‘Woman’ who hook up for a play of cat and mouse with ´Boy´, ´Girl´ and the audience, in the process of which the baby is stolen and the young people are psychologically railroaded.
Are ‘Man’ and ‘Woman’ just playing mind games?
Or does the only path to emotional awakening lead through this kind of pain?
Will ‘Boy’ and ‘Girl’ look at their immature experience of reality and face this pain and loss?
Brilliantly written, funny, entertaining, disturbing and hugely relevant to our time.

Edward Albee, a three time Pulitzer Prize winner is one of the greatest living American Playwrights. Through his play ‘Who is afraid of Virginia Woolf’ he became known throughout the world. With his plays he created a synthesis between American and European theater – between Arthur Miller, Tennessee Williams and Eugene O’Neill and the absurdists like Samuel Beckett, Sartre and Ionesco. Rooted in both Traditions Albee investigates the origins of consciousness, the questions that originate here and how human nature faces or denies them.


February 14th

HomeOpera created a sell out performance in the studio on Valentines Day 2014

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