Research Team Events News MPhil/PhD Contact


Exhibition Participation

Jane Bailey
Chantal Brooks
Brendan Byrne
Ana Carvalho
Jason Cleverly
Susan Corke
Robin Hawes & Associate Professor Tim Hodgson
Pedro Lima
Jem Mackay
Sarah Matthews
Tim Shear

Magda Tyżlik-Carver

26 - 30 October 2007 (closed on Sunday)
10.00 hrs – 16.30 hrs
Private View:
25 October,18.00 - 20.00
The Poly, Main Gallery
Falmouth, Cornwall, UK

for programme of the workshops see below


see also
Participation Poster
Participation Blog
Presenting Participation 1
Presenting Participation 2
Presenting Participation 3
Presenting Participation 4
Call for Artworks

This exhibition invites you to explore the place where the process of participation begins – yourself.

With participation and inclusion high on the political and social agenda, the question is: why do we decide to participate? Why do we engage intellectually and/or physically in situations, events, communities or networks? What do we take from it? What is produced through our act of participation?

Participation, interaction and collaboration have all been important concepts in the art of the 20th century. Artist Marcel Duchamp was among those who expressed the idea that the work is made complete by the audience’s interaction and their decision to participate. Connections between the artwork, the artist and the audience have also been explored in the work of groups like Fluxus and the art ‘happenings’ of the late ‘50s and early ‘60s. More recently, relational artists such as Rikrit Tirivanija have attempted to explore social relations based on everyday activities such as cooking and eating within a gallery context.

Participation and collaboration are now increasingly part of our behaviour on the internet, with websites such as ‘YouTube’ and ‘MySpace’ giving millions of users the opportunity to publish their own videos, music and photos online. Similarly, user driven content is an integral part of sites such as ‘Wikipedia’ and the now ubiquitous phenomena of on-line diaries or ‘blogs’. In this exhibition, the use of new media (computer/ internet) as well as video and installation art, gives the public an opportunity to compare differences in participation between on-line and off-line set-ups or explore different degrees of active engagement in the works.

We invite you to explore your personal decision to participate. Feel free to experiment with your own process of engagement or disengagement; explore the rules of participation proposed by the artists within each of the works and investigate the protocols involved.

Magdalena Tyżlik-Carver

Further ways to participate

During the exhibition we are staging various workshops and participatory events which are open to the general public. For further information and booking details for these events, please send an email to magda@falmouth.ac.uk All the events require booking, unless otherwise stated.


Thursday, 25 October  
6pm - 8pm  
Private View
and performance "Journey through Time & Space"  Ana Carvalho and Tim Shear (no booking necessary)
Friday, 26 October  

Workshop "Toy Theatres, Peepshows and Telescope Books" (16+)
Sue Corke

Toy theatres, peepshows, and telescope books are an exciting way to explore composition and design. Create a 3D scene by exploding a picture into space. Experiment with stage design by building flats and wings. In the 19th century these toys were popular home entertainments, linked closely to theatre and illustrated newspapers. Explore the creation of dramatic space before cinema, photography and computers. Make your own space in which to compose a scene and see your work exhibited at the Poly.

During the day workshop we will start the process of building the spaces and sketching out ideas. Finish in your own time (over the next few days/weekend etc) and bring your work back to the Poly on Monday 29 October for a final get together, discussion and exhibition.

Materials required: guillotine, scissors, scalpals, card, paper, glue, pencils, needles and thread, double sided sticky tape and masking tape, spraymount and drawing tools.
Bring your own picnic lunch. Place to be announced.


Workshop "Eye balls and brains" (11 - 15 year olds)
Associate Professor Tim Hodgson, University of Exeter

Have you ever thought about how your eye balls move in your head? Do they move in a quick jerky or a slow smooth way? Why do we move our eyes anyway? This workshop will reveal all about the amazing hidden world of eye movements and the way your brain controls where you look, including a hands-on opportunity to use a computer system which allows you to see how people move their eyes when looking at pictures.

Workshop "The illusion of sight"
Associate Professor Tim Hodgson, University of Exeter

Vision appears to most of us as the most vivid of senses. But closer scrutiny reveals that much of the clarity and intensity of visual perception is an active construction of our brains. This workshop will use group discussions and practical demonstrations to illustrate this. As well as investigating human eye movements, the session will also explore the bizarre phenomena of hemi-spatial neglect as well as Charles Bonnet syndrome: the existence of vivid and ghostly visual hallucinations in the blind.
Saturday, 27 October: Participation Saturday (no booking necessary, open to all)

Open Space "Let's meet and talk about the artworks"

If you have any qestions about the presented works those three hours will be a chance for you to ask them directly to the artists who will be present and available for conversation. This is meant to be an open and informal space for the artist and the public to meet and exchange opinions and ideas about the works in their direct presence.


Open Debate "What is participation?" (no booking necessary, open to all)

During this open debate we hope to attempt answering the questions about participation. The artists will talk about the role of participation in their work and we invite the members of the audience to share their experience of participation during the exhibition. Why did you engage in some of the works and not the others? What influenced your decision and choice of your involvement with works? Was the work open enough for you to join it? What made you care to participate? What is your motivation for participation?

Monday, 29 October

Make a film in an hour”
Jem Mackay

This workshop will explore the possibilities of filmmaking with a random group of people, within an ultratight deadline. The challenge? Make a film in an hour about the legend of King Arthur. Bring along any resources that you think might improve your chances: a camera? a script? props? actors? But most important - bring ideas.

3pm - 4pm Make a film in an hour” (for details see above)
Jem Mackay


Works and Artists

Stills from Vanishing Points, 2007
Jane Bailey
Vanishing Points: Person, Place, Mediation,

Vanishing Points is a video installation of semi-contrived interactions between person, place and camera. Jane uses video as a catalyst to creative interaction with places. In this work, points of separation and connection are drawn out, producing gaps in which the viewer can wander. Jane is interested in exploring the quieter, less visible forms of participation which may occur in these ‘gaps’ and ‘spaces’.

Jane Bailey is a practising artist and lecturer who has recently completed an MA in Contemporary Visual Art at University College Falmouth. Jane develops her work through collaboration and process-focused investigation. While collaboration remains central, her recent focus has been on a more personal exploration of relations between person and place, and the potential of portable technology to shape them. Recent work includes LAND, a video commission by Croydon Clocktower, made in collaboration with Ze Tubia.


Photos from a binding session with participants, 2007

Chantal Brooks

Bind is a structure based on the idea of a 'quilt' using deconstructed objects given by friends. Each object represents a person, experience, or place. The binding represents the relationship or response to place, person, etc. resulting in a construction of physical evidence of memory and complex relationships transient or lasting.

Chantal is a practising artist who has exhibited her work at Eden Project, County Hall Truro, Salt Gallery in Hayle, Open Studios in years 2004/07 and more recently as part of More Cornwall. Chantal is also a B.A. Fine Art student at University College Falmouth.


Apparatus, 2007

Brendan Byrne

Apparatus is the result of multiple determinants in the ideas Brendan has been researching and making for many years. These works explore the theory and praxis of power through the structured subjectivity of the viewer and of the artist himself. Exploring ideology from an ontological perspective, this is a construct of late Capitalist individuality and the amazing fact that, against all the odds, humans love to work together. The work uses an Open Source authoring environment called Pure Data. Using multiple versions of the same work, users can compose imagery and sound together.

Brendan is practising artist and academic at University College Falmouth. His current artwork combines his own individual practice, research and numerous collaborative projects with an international profile. Thematically he produces work which questions relationships between technology and identity in Capitalism. For more information about Brendan’s work visit www.anotherday.org.uk and www.vjtheory.net


Diaries Book Vol.2, 2007
Ana Carvalho
Diaries Book Volume 2

Diaries Book Volume 2 is a celebration of daily life, women’s achievements, fictional biography and areas of knowledge where empiricism is as important as experimentalism.
Through this work, established rules and fiction are used in the construction of the author’s daily life, within a certain time-frame. A made-up story, for instance, will become reality by living it, raising questions about truth(s). Self-hypnosis and numerology, as selected areas of knowledge, will be used as ways of knowing, understanding and possibly changing reality.

Diaries Book Volume 2 seeks active participation during the process of making the work as well as in its finished format at the exhibition. The rules are not fixed, the work changes itself as it unfolds and the outcomes are left open as much as possible. See www.diaries-book.org/volume2/
For Ana’s biography see her collaborative project with Tim Shear below.


design for Sacred and Mundane 2007
Jason Cleverly
Sacred and Mundane

An artefact in the form of a Victorian mantle clock is a stage via which visitors can select and display ephemera and small objects, perhaps of personal significance or of aesthetic value. The image of these objects in close-up, is revealed by the screen replacing clock’s face via a camera installed inside. The artist thus attempts to render the mundane significant by its display on an ornamental domestic structure. The work however can only by accomplished through the contribution of the public.

Jason Cleverly is course leader of BA(Hons) Contemporary Crafts at University College Falmouth. Building upon his background in the applied arts, Jason has become increasingly interested in the design and development of site-specific, interactive installations. He has exhibited extensively at major international exhibitions and museums including S.O.F.A.,Chicago (2001); the Hunt Museum, Limerick Ireland (2003); Shipley Art Gallery, Gateshead (2004) and The Museum of the Jewellry Quarter in Birmingham (2006).


detail from Peepshow, 2007
Susan Corke

Susan’s work is concerned with the dramatisation of space, the constructions and illusions of peepshows, stage magic and scenery. She is curious about the role of the imagination and the complicity of the audience in suspending disbelief.
In the 19th century many devices of popular and home entertainment like toy theatres and peepshows used printed illustrations to create representations of actual stage shows, exotic places and famous events. In these now antiquated enclosed spaces of entertainment, with their fixed viewpoints, Susan finds a mixture of enchantment, mystery and voyeurism. Though looking through an aperture or lens emphasises the act of looking, are we always conscious of our crucial role in creating the vision before us?

For most of her career Susan Corke has worked in the media within both the print and digital publishing industries. She’s previously studied digital arts and this year graduated from the MA Illustration Authorial Practice at University College Falmouth.


Iris-(after-Ravi-Bains) 2007
Robin Hawes & Associate Professor Tim Hodgson
Private View: The Nature of Visual Process

Robin Hawes’ recent art practice has revolved around the ways in which evolution and the human brain have shaped the nature of our internal experience; our understanding of the external world and the influence this has in determining a common notion of ‘reality’.
In collaboration with Dr. Tim Hodgson, senior lecturer in Cognitive Neuroscience at the School of Psychology, University of Exeter, the project has combined knowledge and technology from the visual sciences with a series of photographic images produced as part of Robin’s art practice.

This project aimed to look at a particular element of the human visual system, that of saccades – the staccato eye movements we each make whilst scanning and exploring the visual scene before us. In examining the processes undertaken by the eye in providing sensory data to the brain, the project highlights the internally constructive and idiosyncratic aspect of visual perception, and reveals the disparity between the visual information gathered by our eyes and the conscious picture of reality formed in our minds.

Each time someone contemplates a work of art, the work of art is re-created internally. In essence, this project attempts to make visible this hitherto internal and unshared neurological event.

Robin Hawes’ art practice is inspired by his fascination for psychology. He is a designer and practicing artist; an MA graduate in Contemporary Visual Arts at Falmouth and works part-time as research assistant for RANE (Research in Art, Nature and Environment) at University College Falmouth.


Legend of King Arthur, 2007
Jem Mackay
Legend of King Arthur

In an age of reproduction, most people are familiar with the idea of ‘the complete story’. People buy stories, they buy books or watch films. They all have fixed beginnings, middles and endings. Before the age of print, however, stories were much more fluid. They largely existed in an environment of oral folklore where the story changed as often as the story was told and retold. With this piece, Jem explores the openness of a legend and how it can be applied to stories within our new technologies.

Jem Mackay is currently studying for a PhD at the University of the Arts, London. His practice enquires into the political structures of creative collaboration, particularly looking at the open source model from the field of computer programming and exploring its relevance to the practice of filmmaking.


Return Journey, 2007
Sarah Matthews
Return Journey

Using the familiar format of a board game, Return Journey explores experiences of nationality and culture, and the possibility of finding a way home.

The board game represents the distance between Sarah’s old home in Frankfurt, and her current home in the UK, and proposes that when other people play the game, their intention to win will help her to complete her journey. Will the collective willpower of the players be enough to take the playing pieces to the finish? Visitors are invited to make their own journey games, and leave them in the exhibition for others to play.

Sarah Matthews is currently studying for a BA in Fine Art at University College Falmouth. Her work relates to social constructs such as nationality and performed culture, often taking the form of participatory works, such as games.


stills from the video for Journey through Time and Space, Ana Carvalho 2007
Ana Carvalho, Pedro Lima & Tim Shear
Journeys Through Time & Space

Journeys Through Time & Space is an audio-visual installation which requires input from the viewer. It will also exist as a performance during the private view of the exhibition.
This work reflects on the action of travelling where arrival and departure are irrelevant. Through the installation, visitors to the exhibition form a collective and ongoing live-jam session, by mixing strategically positioned video and audio material recorded by the artist. The interactive floor consists of nine tiles which trigger audio and visual clips and effects. The audience interacts by impacting one or more tiles with their feet, hands or knees.

Ana Carvalho is a visual artist, performer, academic and web designer, born in Porto, Portugal and now living in the UK. She develops work that describes processes of interaction with other people while telling stories that are not entirely fiction or reality. She is co-editor of the project VJ Theory, www.vjtheory.net, and one of four members of Art in Hidden Places of Falmouth. Ana’s web design work can be seen
at www.visual-agency.net

Tim Shear is a techie who works in creative environments. Currently working as research technologist for the iRes research cluster at University College Falmouth.His current technical explorations include physical interfaces and mixed reality interactions, while continuing to develop online products using open source technologies.

Pedro Lima is a composer and works as a sound engineer at Centro Cultural de Vila Flor in Guimaraes, Portugal. You can listen to his work at www.myspace.com/perecording