One of the things that artists do is notice stuff. As individuals they develop different sensitivities and with them honed methods of self-expression.

This show places the results of three people’s interpretations of their observations together for the first time. 

Had I not been awake
Had I not been awake I would have missed it,
A wind that rose and whirled until the roof
Pattered with quick leaves off the sycamore
And got me up, the whole of me a-patter,
Alive and ticking like an electric fence:
Had I not been awake I would have missed it,
It came and went so unexpectedly
And almost seemed dangerously,
Returning like an animal to the house,
A courier blast that there and then
Lapsed ordinary. But not ever
After. And not now.
Seamus Heaney – Human Chain

James Wright (Zw)
The process taken to arrive at what is felt to be an end product or an appropriate place to stop is what this work is about… The more I make, the more pieces I create, the more building blocks I have to examine and work with. This self-indulgent approach to making while amusing me also throws up more serious questions about my practice; the futility of production, repetition = honing, the validity of a haptic practice.
There is a choice of an absence of an obvious subject matter. The intention is to give the viewer the space to respond to the work creatively and enter into the game of semi-recognition. The literal is secondary. The work is an exploration of tapping into an intuitive image reading. This compilation of visual objects hints at something unread.


Petra Hudcova (Cz)
The predominant direction in my production of work has been the study of the way humans experience a moment that seems to be ‘inexperiencable’. Throughout my practice, I have been attempting to understand these delicate moments, which exist outside the system of speech and are therefore elusive. I examine the manner in which the interpretation of this moment has been changing throughout history and the implications it has had. The main vehicle for me has been a form of video installation. I began using it to incorporate the viewer in the space, avoid the dictation of linear narrative structure and question viewer’s perception. Its visual seductiveness has been crucial too as it assists the viewers’ 'self-abandonment'. 
I am currently fascinated by the way this feeling is represented and reflected in the public space, which is accessible by most and often misused for various purposes such as ideological message. 


Juz Epe (It)
Sound is the starting point of my creative practice. I have always been into glitch music that is a genre in its own right. In my current work I am exploring the relationship between aural and visual glitching. The short pieces I have created for this show are sketches and experiments of my journey so far.