Collective Ending group exhibition ‘HOUSE §1’, the first in an annual exhibition series of new work from members of Collective Ending HQ. Featuring works by Elliot Fox⁣⁣, Billy Fraser⁣⁣, Alia Hamaoui⁣⁣, Byzantia Harlow⁣⁣, Ralph Hunter-Menzies⁣⁣, Harrison Pearce⁣⁣, [pɑː(r)tɪk(ə)l]⁣, Rhiannon R Salisbury⁣⁣ and Ted Le Swer⁣⁣. Organised by Hector Campbell, Charlie Mills & Georgia Stephenson⁣. 31st October — 17th December⁣ 2020.

Knill Desperandum.
Aluminium, Aluminium composite panel, Cable tray, Perspex, Perforated PVC, Cornish Gorsebush, Strobe light.
Dimensions variable.

House §1 show at Collective Ending HQ

“H.C: Finally, you’re currently a member of Collective Ending HQ, a studio and gallery complex in Deptford, South East London and are working towards the first annual member’s exhibition, to be expected mid-late October. Could you give us any insight into the work you’re creating for that upcoming exhibition? Will you continue to explore some of the themes prevalent in Idol Hands?

E.F: I will be yes, actually the Cornish gorse used within the exhibition was picked from a monument near where I grew up, and for the upcoming CE HQ members exhibition, I’ll be re-interpreting this monument as a new sculpture.

The monument was built in the honour and memory of a local businessman and sees a ritualistic festival held there once a year that involves curious performative elements. I am, however, more interested in the local legend that surrounds the monument. Knill, the man in question, was known to have amassed his fortune through smuggling, and the giant pyramid-like structure was actually a communicative symbol previously used to allow boats to view the skyline to land safely. I’m really interested in the idea of how objects are used to communicate, and especially this idea of immortalising yourself in this message.