Ba Stunt

Ba Stunt

BA STUNT: I am a sculptor/painter currently working on a series of textile sculptures in the form of 'heads'. These are figurative representations illustrating the contradictions between what we communicate 'publicly', and the real emotions and thoughts that are locked inside our minds.
mobile: 07906177415

RED - Mark John Smith & Tom Swift MARCH 2011

red invite

Tom Swift and Mark John Smith
Present Exhibition RED.
Featuring new Sculpture, Painting, Photography, Installation and Video.

Private view: March 19th 2011 6PM - 9PM
Exhibition continues: 19 20 26 27 March 2011
open Saturday and Sunday 10AM - 5PM

RED brings together Painting, Installation, Video, Sculpture and Photography works made in 2011, by Margate-based collaboration, Tom Swift and Mark John Smith.

Although the works on show were conceived and produced separately, they share both a common aesthetic and conceptual approach.

RED aims to explore the interdependencies between: gallery-museum, location and place.

Tom Swift’s practice relies on a ‘make and do’ ethos. The final works shown are a reduction of this process.

Mark John Smith’s practice is concerned with the juxtaposition of the ‘elite’ with the mundane. Mark’s sculptural works include essences lifted from 1960’s Minimalism. These key historical aesthetic signifiers are then represented through the engagement and appropriation of utilitarian objects sourced from the everyday.

For further information and documentation please visit:




Tom Swift

TOM SWIFT: Recently I have been working with oil, graphite, photography, film, lino cut, screen print, music and dance, collaborating with fashion designers, modern dance artists and musicians. I work quickly, I feel like I’m racing to explain what it is that I’m inspired by in the area that surrounds where I live and work.

Project Space Images & Dimensions

Project Space 1

door width - 1750mm
+ north wall - windows - 5675mm
+ south wall with north facing windows (boarded) section 1 - 4351mm, section 2 - 1324mm
+ east wall facing doors (brick) - 4900mm
+ west wall beside doors (boarded) - 3050mm

Project Space 2

door width - 1750mm
The length for projection is 6187mm. north or south wall can equally be used.
+ north wall (boarded) - 4351mm (width clear for projection - 2207mm)
+ south wall - 2207mm
+ east wall (brick) - 6187mm
+ west wall (board) - 4030mm

Front Project Space plan
Front Project Space
Front Project Space
Front Project Space
Front Project Space
Back Project Space plan
Back Project Space
Back Project Space
Back Project Space

F.E.L.T - exhibition opens 24 Feb

Eloisen Lambert

Focalised. Exterior. Life. Texture

Exhibition Open:
Thursday 24th February 2011 - Monday 28th February 2011.

Opening Times: 11am – 4pm.

The exhibition is a collaboration between four 2nd year Fine Art students from the University of the Creative Arts at Canterbury, Eloise Lambert, Mary Demery, Georgia McElhone, and Giovanni Fazzolari.

F.E.L.T conceptualises the importance of surface and texture. Focusing on the use of various mediums to expose and alter the perception of the obvious, and increase attention to the textures that form our world. Formulating the distinctive physical composition or structure of a section of the body, a landscape or object, which would normally be deemed insignificant and hidden from view.

The experience of F.E.L.T exposes the viewer to an altered image of normality through a composition of painting, sculpture, and sound to create a total sensory exhibit.

Tether Interview Matthew de Pulford

Hither and Thither

Last year Nottingham based artist-led organisation came to Margate as part of the making of Hither and Thither – a video survey of artist-led initiatives across the country. Their interview with Matthew de Pulford, recipient of Crate’s first curatorial bursary, can be found .

Margate Photography Festival July 2010

photography festival. image copyright Nicola Carass

Margate's first annual photography festival, comprising the best of professional and up and coming contemporary photographers from the region opened on July 30th. Works were be situated in venues around Margate, including CRATE. Private view 30th July and exhibition continued until 1st August. Contact for further details.

Tom Duggan: LACUNA

Preview: Saturday 17 April 2010, 6-9pm | CRATE Project Space, Bilton Square, Margate CT9 1DX
Exhibition opening dates and times:
18, 23-25, 30 April 2010 and 1 May, 12-5pm |
Project Space
19-23 April 2010, 9am-5pm | Herbert Read Gallery, UCA Canterbury, New Dover Road, Canterbury CT1 3AN

Wherever art appears, life disappears. " Francis Picabia

CRATE presents Lacuna, which documents the actions of a series of personas inhabited by the artist Tom Duggan.

The exhibition, which will take place at CRATE Project Space in Margate and at the Herbert Read Gallery at UCA in Canterbury, comprises performance, installation, found objects and text works.

Lacuna portrays ‘an artist who isolates himself for our spectacle’, regarding the tradition of disappearing artists like and , while considering, perhaps ironically, how such artists have entered into art history.

In some instances we see Duggan proposing fantasies; in others he seems to be preparing to disappear from the world. Seeming to exist both in fiction and in reality, these works reflect Duggan’s apparently simultaneous desires to be known and to be invisible.

Several of the works make attempts at declaring something. In one instance, Duggan claims to have put everything he owns into cardboard boxes. In another work, that the object exhibited is an item stolen from an undisclosed location somewhere in the UK. These claims are either supported with some kind of proof (if the action took place in the past), or presented as a promise (if it is yet to take place); with each, some aspect of the work is either unseen or unspecified.

In contrast to these declarations and promises are the suggestions of imagined exhibitions curated by the artist, for which he has created a series of press releases and floor plans.

Lacuna considers the presentation of the Tom Duggan artist-persona through this institutional framework and its capacity for revealing truths. It asks whether the viewer will accept the disparity between the Tom Duggan who speaks through the institution and the Tom Duggan who, we are told, carries out the series of secretive, isolated and contemplative acts documented in the work.

Lacuna is part of , CRATE’s programme for 2009/10.  It is supported by Arts Council England and Kent County Council.

About the artist:

Tom Duggan graduated from Nottingham Trent University in 2009.

He once arranged for a follower to follow viewers upon their departure from an exhibition space. Elsewhere, he arranged for actors to visit an exhibition only to pretend to be genuine viewers of the exhibition. Partially in an attempt to question the authority of the artist, these potentially invisible gestures play with the notions of consent inherent to gallery dynamics and etiquette.

Recent exhibitions have included Project Biennale (2009), Nottingham Trent University Fine Art Degree Show (2009) and Defunct (2008), which he co-curated at Backlit Studios in Nottingham.


Black and grey chips piece, [2010] Postcard announcement. Edition of 3000 announcement cards for a performance by Tom Duggan. 2000 copies were distributed in the subscriber copies of Art Monthly issue #335, April 2010. The remaining 1000 were available at CRATE Project space for visitors to take away and keep.

Lacuna, [2010] Stolen dictionary page. Dictionary page removed from the reference copy of the Oxford English Dictionary belonging to an unspecified public UK library.

Lacuna, installation shot. Tom Duggan 2010

Herbert Read Gallery, 2010. Tom Duggan/Lucy Burden

Herbert Read Gallery, 2010. Tom Duggan/Lucy Burden

Herbert Read Gallery, 2010. Tom Duggan/Lucy Burden

Land Use Poetics

Land Use Poetics

OPEN EVENT: SUNDAY 28 March 2010 11am - 3pm Land Use Poetics is an international workshop and an exhibition about spatial practices, technologies and imaginaries. During an intense four day workshop ten artists and researchers from around Europe will gather in Thanet for an improvised field study of its everyday environs. A year ago, in March 2009, a first phase of the project was pursued in Thanet’s twin region and former Viking land, the historically complex and now intensely exploited landscape on the border between Sweden and Denmark, in this case more precisely the area around the Swedish cities of Malmö and Lund (historical Denmark), resulting in an exhibition at The Museum of Sketches, Lund. This second phase of the project takes the landscape around Margate, Broadstairs and Ramsgate as a starting point. Through walks, observations, interviews, or other more or less artistically influenced methods – the group will attempt to explore, understand, map out and scrutinize the area and its different forms of land uses, the tentative result of which will be made public at an open event at Crate Space in Margate, Sunday the 28th of March, from 11am.


Preview: Friday 12 March 2010, 6-9pm
Open: 13 - 14 March 2010, 12-5pm & 19 - 21 March 2010, 12-5pm (Or by appointment)

For the fifth exhibition in CRATE's programme, Lucy Harrison explores interpretation and coincidence through the stories of two people – one from 20th Century Italy, the other from 19th Century Margate.

In the first part of the show, which takes place in CRATE’s Project Space 1, she attempts to piece together the biography of the owner of a collection of letters and postcards found on a roadside in Sicily.

The London-based artist was visiting Palermo last year when she discovered a carrier bag full of correspondence spanning 20 years. She returned home with the letters, intrigued by what they might reveal of their owner – and what they might withhold. With the help of an Italian speaking friend, she found parallels between the found collection and other ephemera belonging to absent family members which she herself owns. Following this, she asked various Italian speakers in Italy and the UK, including in Margate, to translate more of the letters into English, and also to interpret and speculate on what the letters might have meant and what they reveal about the correspondents’ lives and relationships. Her search for Italian connections in the area led her to a local story that casts a different light on what happens to somebody’s possessions when they die.

In Project Space 2, Harrison investigates a pamphlet found in the Margate Local History Archive. ‘A Plain Statement of a Late Base Conspiracy’ is the confusing story of a man in Margate in 1837 who felt persecuted by gossip in the town about why his uncle cut him out of his will. The gossip was literally spread around the streets by graffiti and ‘printed placards’.

The Absent Collector is Harrison’s investigation into the process by which the belongings of one who is no longer there have new value judgments placed on them and are often disseminated to various locations and read without the previous owner’s knowledge of why they were kept, or of the specific relationships between the objects that determined their meaning. By focusing on the idea of an unknown collector, the project considers how others may find or interpret items that were given away, and the way in which those that were kept now signify a void; the writer or receiver of letters no longer being present to clarify points or retell stories.

Harrison’s dissemination of the Sicilian collection is in part an attempt to explore how personal connections and family histories make objects meaningful: that when her collaborators’ input is gathered to form a new collection, it might create a portrait of the vacuum that is created when someone dies. The exhibition also examines the act of ‘reading’ a collection of objects – whether they be letters, objects, photographs - highlighting the role of guesswork in the absence of the original collector, and the extent to which one’s understanding of collections is guided by one’s own desires rather than curatorial or objective agendas. Furthermore, it considers the impact that this act of reinterpretation can have in the real world.

The Absent Collector is part of Bad Translation, CRATE’s programme for 2009/10. It is generously supported by Arts Council England and Kent County Council.

About the artist:

Lucy Harrison is based in London and graduated from the Royal College of Art in 1999. Her recent work investigates the subjective nature of the experience of place and connections between memory, location and architecture. It takes the form of photographs, book works, video and various forms of printed and published material. Her projects often engage with the public realm through collaboration, encounter and exchange, and involve residents of a place in the work, such as Canvey Guides, a project on Canvey Island in 2007, for which she formed the Rendezvous Walking Club and worked with people on the island to produce an alternative guidebook and audio guide. Recent projects include Fourteen Interventions (2010) at Swedenborg House, Poetry Machines (2009) at the Saison Poetry Library, London, The Stratford Grapevine (2008) for Art on the Underground at Stratford station and a residency at Lokaal 01, Antwerp in 2008. She was artist in residence at the Institute for Contemporary Interdisciplinary Arts at the University of Bath last year, and is developing a new project for SPACE working with residents of an estate in Hackney Wick, London.

Lucy Harrison is Senior Lecturer in Fine Art at University for the Creative Arts, Canterbury.


The Absent Collector (installation shot), Lucy Harrison, 2010

The Absent Collector (installation shot), Lucy Harrison, 2010

The Absent Collector (installation shot), Lucy Harrison, 2010

The Absent Collector (installation shot), Lucy Harrison, 2010

The Absent Collector (installation shot), Lucy Harrison, 2010

The Absent Collector (installation shot), Lucy Harrison, 2010