Exhibition Dates
29  January – 1 February 2026

OPENING
Thursday 29 January 2026
6.00 – 9.30pm

Please check instagram for any changes

CLOSED
Monday

Adomas Zube
Axel Wall
Flora Braddell
Han Wen
Haobin Liang
Joshua Knight
Milan Brizinskas
Oscar Alvarez
Rosie Sullivan
Sonny Worsley
Zain Bador
Zixi Wen

Adomas Zube
‘Spare Room’
It is a room where the ceiling drips with water. Buckets and drip diverters sing/recite room and flatmate advertisements collected from online room-rental platforms such as Spareroom. These include listings for available rooms alongside self-descriptions written by people advertising themselves as potential flatmates, forming an exchange between spaces and those seeking to inhabit them. Each bucket contains a speaker that transmits a non-professional singer’s voice, creating a spatial polyphony of familiar texts.

The voices sing the promises and requirements of the contemporary housing market, while gradually revealing its social and economic limits and oppressions, as well as the desperate need for connection under volatile economic circumstances. The makeshift aesthetics function as a subconscious gesture towards the hidden uncertainties behind the market’s slogans and the insecurities of those searching for a new home.

AXEL WALL
‘pulse:awakening’
We attempted to build machines in our own image. In doing so, we increasingly find ourselves reflected back.
“Pulse: Awakening” explores the unstable boundary between human intention and artificial response. The work draws on contemporary anxieties surrounding artificial intelligence, particularly moments when language models experience “delusion” and appear to display self-awareness, phenomena that emerge not from consciousness itself, but from human projection and misaligned interpretation.
The piece takes the form of a sound system that reacts imperfectly to its environment. Audio from the gallery is processed and returned in altered form. Rather than responding clearly to inputs, the system “mishears” and aestheticises its input, cycling between states of dormancy and heightened sensitivity.
The installation suggests a proto-conscious entity attempting to perceive a world that is too ambiguous and insufficiently structured for it to understand. In this way, the work reflects on the inadequacy of the frameworks through which humans attempt to engage with them.

FLORA BRADDELL
‘Each Time Around’
Three projectors, each portraying a singular, visual representation of routine. Characterising behaviour patterns through the different perspectives of interior habits, exterior traits, and our interactions with individuals. Projected onto sensors, the contrast of light and dark throughout the moving imagery produces a kind of distortion and manipulation to the sonic element of the piece.
Through the interaction of shadows the audience members are able to involve themselves with the work, each in a unique way. Allowing for what seems like a repetitive cycle of visuals to be intercepted and therefore altered into a new sequence.
‘Each Time Around’ depicts the constancy of routine, the repetition of the mundane movements that shape our perspective and approach to being.
Accompanied by the significant presence of people.
Despite the dependency one may have on their routine, an importance lies within the unexpected integration individuals have into our lives.

HAN WEN
‘Folded Memories’
Folded Memories is a cross-media interactive installation inspired by Frederic Bartlett’s theory of reconstructive memory. Using folding as a metaphor, layered chiffon pages blur past photographic images, evoking memory as something that accumulates and transforms over time—each fold an act of reconstruction.

Built with Pure Data, the sound system captures real-time environmental audio to disrupt and recompose existing sounds within a granular soundscape. Together, visual layering and sonic reconstruction express memory as fluid and unstable, echoing Bartlett’s view that memory is an ongoing process rather than a fixed reproduction.

HAOBIN LIANG
‘treasure hiding’
The theme I aim to convey is the impact of urban waste and noise pollution on us. In this exhibition, I want to experiment with externalizing and visualizing sound, as well as exploring how sound reflects on a physical level. I plan to create a sound installation using a small resonant space to reflect the audio.

JOSHUA KNIGHT
‘Held moments.’
My film is based around the videos that my Dad got on his VHS cam recorder from me and my brother’s childhood. It looks into the bond we curate at a young age with siblings and people close to us. I want to explore ideas of memories and nostalgia within my film. Quadraphonic set up in a blacked out room with a projector on the wall, a place to sit and soak up the film.

MILAN BRIZINSKAS
‘Anachronism’
Anachronism brings historical sound materials into dialogue with contemporary composition. A modified clock mechanism generates resonant metallic tones that blend with flute, clarinet, and piano, forming evolving textures and shared rhythmic spaces. Rather than contrasting eras, the work allows traditional instruments and modern techniques to meet on equal terms, presenting time as a continuous field where past and present resonate together.

OSCAR ALVAREZ
‘Lagrange Point’
Lagrange Point is an exercise in creating a fleeting, momentary sound world in a multichannel format. A vinyl record – cut together and assembled from various environmental recordings – spins at its centre. Surrounded by an eight speaker wall of sound, the decaying tones of the vinyl intertwines with the composition endlessly until both the record and needle are destroyed.

ROSIE SULLIVAN
‘White Rabbit’
In the film I am experimenting with how sound can describe movement transforming the ordinary into something new through our individual perceptions of reality. It highlights the magic and darkness of the human experience and looking at duality and balance.
I made the film first and the score responds to the visual. I used automatic processes to write the score as well as manipulating sound recordings.

SONNY WORSLEY
‘untitled’
Creating a looping sound sculpture from random electronic components and hardware that I’ve modified(answering machine, cassette tapes, piezo and speakers). It will be visualised on a CRTV from the audio interference. The visuals and audio will then modulate depending on how the viewer interacts with the piece.

ZB
‘And Everything Turned To Black’
A triptych composition composed of three graphic scores (Movements) and an accompanying sound piece. Created as an enquiry into the dynamics between the amateur and non amateur, DIY and institutional approaches to composition and the distinctions between “Noise” and the “Avant Garde” through the exploration of an open graphical score.

ZIXI WEN
‘Sonorous Residuum’
Sonorous Residuum is an installation that explores resonance, automation, and material trace through sound and mechanical drawing. Three servo-driven mechanisms repeatedly inscribe circular gestures with ink onto suspended xuan paper, allowing marks to accumulate as temporal records rather than resolved forms. Brushes made from organic materials introduce subtle variability and wear into an otherwise automated system.

A six-minute sound work exists as a continuous state, combining synthesized textures with natural sounds drawn from guqin and ceramic objects sourced from the artist’s tea vessels. Informed by Eastern musical philosophy, the work privileges resonance and decay over attack and resolution, treating sound as a lingering presence rather than an event.

By placing mechanical repetition alongside fragile, irreversible materials, the installation reflects Far Eastern aesthetic thought in which incompleteness, duration, and material sensitivity shape perception, allowing sound and image to emerge as parallel, unfinished processes.