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It is incredibly difficult to get five members of a busy design studio into a single room to sit around a table for a designated period of time. The work comes first.
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He adored glamour and beautiful things, and was always rushing off to Loro Piana to buy his mother something fabulous.
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He had a great sense of humour — he could make you cry with laughter. David understood restaurants so much more intuitively than almost any other interior designer and we like to think he produced much of his best work for us, primarily because, as he said himself, he enjoyed a rigorous collaboration.
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Subscription sign in. Read latest edition. UK Edition. US Edition. Log in using your social network account. Please enter a valid password. Keep me logged in. This was a joint exhibition with Louise K. I worked with cleaners, directors, creatives, account managers etc. Works included a series of silent videos which re-interpreted images of office life which were in turn projected into the open-plan office space; and a reworking of the company logo in which each coloured line represented a service offered by BRAHM to include an invisible line to represent the cleaners.
A series of guided audio-tours for use in the city. Tours included a "Shopping" tour and "The Mission". This project developed into "Global Fragments" - see above. D igital video projections for a major new opera by Sam Paechter and Rachel Feldberg. My work explored the theme of "Men and Shopping" and was a cumulative interactive collaboration in which I brought four male shoppers into an anonymous virtual dialogue about their experiences of shopping. A ten-minute digital television program, which explored the night-time lives of four people who, didn't sleep at night - a breakdown recovery driver, a fisherman, an illegal-rave organiser and an insomniac.
The film itself attempted to re-negotiate the video-diary format through digital technology and collaborative filming techniques. A collaboration with 14 ex-pupils drawn from 40 years of Foxwood Comprehensive School - built as Leeds' first comprehensive in the late 50s and closed under special measures in the late 90s. The project resulted in multi-media installations in two massive stairwells of the building - now East Leeds Family Learning Centre.
The installation was planned to stay for a month and was retained as a permanent fixture in response to positive feedback from the local community. A collaboration with 14 disabled people which explored experiences of love, sex and relationships. It resulted in a book, a web site and six billboards.
Click here to see the We Still Can website. A sound based interactive installation in the Birmingham Botanical Gardens which explored perceptions of scientific evidence. Working as the Lewin Collins Foundation I created two "educational" workstations which suggested that plants might respond directly to human activity such as music. My intention was to present people with something that looked scientific but which they would quickly 'see through' and perhaps cause them to question how easily they accept scientific authority.
In practice every single visitor asked, said they believed the "experiments". These visitors included a party of Botanists from another institution! Some months later I was contacted by an agricultural college and asked if the Lewin Collins Foundation would be prepared to restage the experiments for their students - it was hard to know whether the caller was more embarrassed or disappointed when I explained that the plants had not in fact responded to the music he had played to them when he visited.
A collaboration with 14 people with very different experiences relating to death, and from a range of faith backgrounds. A collaboration with a diverse group of local drivers bus driver, rally driver, road protester The work was re-shown as part of an exhibition responding to the building of the Newbury Bypass - which had been the focus of prolonged and extensive protests in the mid 90s. A commission from 'Crystal Clear' - a multi-venue art event which worked with the new Royal Armouries Museum in Leeds to explore issues raised by the building and its collection.
These drew on the responses of eight local people - each with direct experience of weapons - a surgeon, a police firearms officer, two peace campaigners, two gun club members, a victim of armed robbery. Each collaborator visited the museum and followed a "critical" audio tour of the museum which I created for the event - their responses to the tour became the raw material for the final works. A Visual Arts UK commission for which I created "Red Wood Orange Doors" a process-based work which culminated in a series of temporary sculptures, and "BoatHead"a pair of giant beach drawings which were photographed from the air.
I also spent a month creating sculptures with school groups, which culminated in a photographic exhibition hosted by 16 shops in Seaham High Street. A "museum style" guided audio tour applicable to any Mothercare store in the UK. Six men visited six stores across the country.