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Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

Gallery visit g/hosti by Candice Lin at Whitechapel Gallery, and it’s still haunting us a bit.

The exhibition unfolds like a fever dream through histories of colonialism, diaspora, extraction and migration, where human, animal and microbial are threaded into one another. Materials decay, transform and leak across boundaries, blurring where one things ends and another begins in this labyrinth.

There’s also something unsettlingly intimate about the work. The idea that we are constantly in relation with unseen forces such as bacteria, histories, systems of power, making us feel porous, vulnerable and deeply entangled.

P6-7 is the hidden book tucked away in the exhibition, you have to ask the staff to see it, making the act of reading feel secretive and intimate.

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Revealing Histories: Mapping the Seen and the Unseen at Dorich House Museum’

We invite you on a journey throug Dorich House Museum, uncovering traces of its past that are often invisible or overlooked, yet deeply significant. Through mapping, we ask how histories are revealed, and who has the authority to define what is seen, remembered, and considered true. Our maps chart the architectural features, the grand historical moments, as well as the subtle, everyday marks left by human presence, details that together tell a fuller story of the house and its inhabitants. In looking at these traces, the exhibition asks the questions: who holds the knowledge, and therefore the power, to shape the truths we carry?

by Catalina Quintana, Fern Toynton, Yi-Ciao Huang, Kai-Chia Chang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Listening to the Hearth’

We reframe Dorich House’s fireplaces as quiet witnesses to the home’s stewardship. Fixed within the architecture, these hearths remained constant as generations of care, use, and preservation unfolded around them, marking continuity between past and present custodians. Associated with warmth, gathering, and life, they were active centres of daily routines, as seen in photographs of Dora beside the fire. Through speech-based recordings, each fireplace becomes a narrative point, sharing imagined conversations, ambient sounds, and scenes of care. Listening to these voices invites visitors to connect memory with stewardship and reflect on their own role in sustaining the house’s living legacy.

by Shu Fei Hsu, Hannah Skilton, Yanzhe Wang

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘Categorisation: What’s Missing?’

The exhibition investigates the power of categorisation, how it orders knowledge, shapes narratives, and determines what becomes visible to the public. What stories surface and which remain unspoken? What structures are in place, and how might we reimagine them to create more expansive and responsible forms of care? One strand will be researching hidden stories and cataloging, whilst the other will be investigating conservation and decolonisation. What does it mean to rethink these systems with greater care, accountability and imagination? By tracing the unrecorded and overlooked stories that slip between traditional categorisation, the research explores how cataloguing both obscures and reveals lived experience. Working with Dorich House, it examines how missing information shapes our understanding of Dora Gordine’s practice and the wider history surrounding the site and museum practices as a whole. It proposes cataloguing as an active interpretive process, one that can be recentered towards care and transparency.Through this lens, the exhibition becomes a space for reimagining how a collection can prompt learning, reflection and new forms of understanding.

by Emily Silvester and Millie Watson

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘The Silence Echoes’

This project seeks to attain a truth behind the relationship between Dora and her subjects (sculptures). We redefine and examine the connections between Dora, the sculptures, and the sitters. Visitors are invited into the making of these sculptures, listening to conversations that are held between them. It is a space where making and imagining coexist, revealing identities, histories, and belongings. By positioning the sculptures facing one another, the project stages imagined conversations — not between two constructions, but between two human beings. Their exchange is silent yet charged, activated by shadow, proximity, and the domestic intimacy of the house. The shadows cast onto the walls become as important as the bronzes themselves, suggesting that what surrounds an object — context, belief, absence — shapes its meaning as much as form does. Additionally, we accompany these dialogues with sound and polaroids showing photographs of the sculptural conversations from different angles.

by Iris Chou and Maria Massoud

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

‘Traces’

This exhibition investigates the “orphaned” years of Dorich House Museum from 1991 to 1994, discovering
the period of squatting and raves not as a gap in the history but as a chapter of unconventional stewardship. While traditional museum stewardship
focuses on the preservation of the physical artefacts through institutional distance, the squatters in the 90s accidentally practiced a stewardship of presence in their own ways. Through researching interviews from past squatters and utilising the methodology of Forensic Architecture, we decided to recreate the scenes of the squatting period as forensic sets, where rave flyers and squatter traces will be re-contextualised as material witnesses of the lived-in
history. These traces do not merely document a period of trespass but also map a period of unspoken care
and guardianship. Also, the exhibition references Jean Cocteau’s 1930 film ‘The Blood of a Poet’ as a conceptual lens to investigate the emotional bond
between the squatters and the house/sculptures. Just as the poet in the film falls in love with a statue, the squatters of the 90s fell in love with the space, existing in a state of cohabitation with the sculptures. Ultimately, the exhibition invites visitors to become
the witness of this period of history, to provoke a different understanding and appreciation of stewardship.

by Cecilia Gu, Lana Robinson, Nat Sass, Una Zhang

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

That’s a wrap!

Thank you to everyone who came to visit the exhibition. Your feedback and engagement made it truly exciting. We hope you enjoyed it and took something meaningful away with you, whether it was a piece of history or a reflection on your own story.

We are very excited to carry this curating experience forward into our next adventure!

In the meantime, we’ll be sharing each group’s project here over the next few days ✨
Stay tuned!

#exhibition #curation #dorichhousemuseum #kingston

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

Doors are open! 🔓✨
Some behind the scenes from setting up at Dorich House Museum yesterday. @dorichhousemuseum

The exhibition is on from TODAY until this Saturday. Come visit us 🫶🫶🫶

💕Don’t miss out：We’re hosting special workshops this Saturday afternoon, feel free to join us~~

We’re thrilled to announce a group exhibition of the course! ✨✨✨

‘Dorich House: Fragments of Truth’ unfolds at Dorich House Museum as an experiment in curatorial stewardship. The exhibition explores the meaning of ‘stewardship’ within the context of collections. Through the gathering of objects as witnesses, we invite them to communicate their partial stories to visitors within this museum and its tumultuous history. Truth here is provisional, assembled through fragments, gestures, sounds and encounters. The display is treated as research, testing how drawings, texts, performances and pauses can cultivate care for humans and non-humans. Visitors become participants in meaning-making, tracing relations of justice and the rich history of ownership and memory across Dorich House. By decentering the authoritative voice and embracing uncertainty, our work proposes the museum as a living site where stories are shared, questioned, and collectively rewritten.’

Please join us to see the creative outcome!🥰
Free admission 🎟️
Date: 26-28th Feb
Time: 11am to 4:30pm

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

We spent an incredible morning at Judith Clark Studio in Notting Hill two weeks ago, and we’re still reflecting on her unique philosophy on exhibition-making. We loved her perspective that a gallery should be a space for 3D essays, a place to explore the politics of dress through a research-heavy lens.

It was fascinating to see how she moved form architectural practices to fashion, drawing on theatrical constructivism to evoke specific moments through text and design.

She inspired us to look deeper into literature, art history, and theories to find inspiration, proving that gallery is a space for stories, narratives and possibilities. It’s a reminder that the stories we tell about what we wear are just as vital as the clothes themselves 🌟

During our visit to Max Lamb’s Exercises in Seating last October, we were struck by how his practice navigates theory, making, and real-world constraints 🌟

Although Max describes himself as a designer who solves problems, he also spoke about creating problems as a way to question assumptions around materials, processes, and use.

His reflections on commission work were particularly resonant, reframing constraints not as limitations but as opportunities for authorship through resourcefulness and invention. What stood out most was his emphasis on process—by making production visible, he transforms the studio into both a workspace and an exhibition, presenting design as an open, ongoing practice rather than a fixed outcome.

We were really thrilled and grateful to sit on the chairs and hear Max share his thoughts with us✨✨ Appreciated it 🥰

During our visit to Max Lamb’s Exercises in Seating last October, we were struck by how his practice navigates theory, making, and real-world constraints 🌟

Although Max describes himself as a designer who solves problems, he also spoke about creating problems as a way to question assumptions around materials, processes, and use.

His reflections on commission work were particularly resonant, reframing constraints not as limitations but as opportunities for authorship through resourcefulness and invention. What stood out most was his emphasis on process—by making production visible, he transforms the studio into both a workspace and an exhibition, presenting design as an open, ongoing practice rather than a fixed outcome.

We were really thrilled and grateful to sit on the chairs and hear Max share his thoughts with us✨✨ Appreciated it 🥰

During our visit to Max Lamb’s Exercises in Seating last October, we were struck by how his practice navigates theory, making, and real-world constraints 🌟

Although Max describes himself as a designer who solves problems, he also spoke about creating problems as a way to question assumptions around materials, processes, and use.

His reflections on commission work were particularly resonant, reframing constraints not as limitations but as opportunities for authorship through resourcefulness and invention. What stood out most was his emphasis on process—by making production visible, he transforms the studio into both a workspace and an exhibition, presenting design as an open, ongoing practice rather than a fixed outcome.

We were really thrilled and grateful to sit on the chairs and hear Max share his thoughts with us✨✨ Appreciated it 🥰

During our visit to Max Lamb’s Exercises in Seating last October, we were struck by how his practice navigates theory, making, and real-world constraints 🌟

Although Max describes himself as a designer who solves problems, he also spoke about creating problems as a way to question assumptions around materials, processes, and use.

His reflections on commission work were particularly resonant, reframing constraints not as limitations but as opportunities for authorship through resourcefulness and invention. What stood out most was his emphasis on process—by making production visible, he transforms the studio into both a workspace and an exhibition, presenting design as an open, ongoing practice rather than a fixed outcome.

We were really thrilled and grateful to sit on the chairs and hear Max share his thoughts with us✨✨ Appreciated it 🥰

During our visit to Max Lamb’s Exercises in Seating last October, we were struck by how his practice navigates theory, making, and real-world constraints 🌟

Although Max describes himself as a designer who solves problems, he also spoke about creating problems as a way to question assumptions around materials, processes, and use.

His reflections on commission work were particularly resonant, reframing constraints not as limitations but as opportunities for authorship through resourcefulness and invention. What stood out most was his emphasis on process—by making production visible, he transforms the studio into both a workspace and an exhibition, presenting design as an open, ongoing practice rather than a fixed outcome.

We were really thrilled and grateful to sit on the chairs and hear Max share his thoughts with us✨✨ Appreciated it 🥰

During our visit to Max Lamb’s Exercises in Seating last October, we were struck by how his practice navigates theory, making, and real-world constraints 🌟

Although Max describes himself as a designer who solves problems, he also spoke about creating problems as a way to question assumptions around materials, processes, and use.

His reflections on commission work were particularly resonant, reframing constraints not as limitations but as opportunities for authorship through resourcefulness and invention. What stood out most was his emphasis on process—by making production visible, he transforms the studio into both a workspace and an exhibition, presenting design as an open, ongoing practice rather than a fixed outcome.

We were really thrilled and grateful to sit on the chairs and hear Max share his thoughts with us✨✨ Appreciated it 🥰

During our visit to Max Lamb’s Exercises in Seating last October, we were struck by how his practice navigates theory, making, and real-world constraints 🌟

Although Max describes himself as a designer who solves problems, he also spoke about creating problems as a way to question assumptions around materials, processes, and use.

His reflections on commission work were particularly resonant, reframing constraints not as limitations but as opportunities for authorship through resourcefulness and invention. What stood out most was his emphasis on process—by making production visible, he transforms the studio into both a workspace and an exhibition, presenting design as an open, ongoing practice rather than a fixed outcome.

We were really thrilled and grateful to sit on the chairs and hear Max share his thoughts with us✨✨ Appreciated it 🥰

A visit to Gallery FUMI is a reminder that great exhibitions are always a labour of love 💕 @gallery_fumi

The focus on what is handmade invites deeper questions about what materials and processes are capable of, and how singular and specific each object can be. Curating here is not about imposing a narrative, but about listening. It becomes a conversation between objects, between makers, and ultimately with the audience.

A solo exhibition represents a significant investment for an artist, not only financially but also emotionally. In this context, marketing feels less like persuasion and more like advocacy. At its best, it builds on existing relationships with collectors while opening the door for broader audiences to engage. Even those who cannot afford to acquire a piece are still invited to participate through stories, ideas, and shared curiosity.

Claire also spoke about the relationship between art and craft within the gallery context. Craft may still be considered a difficult word in some settings, but at Gallery FUMI it becomes a bridge, using language to speak clearly to a wider audience and meet them where they are. We truly appreciated the fresh perspectives Claire shared with us. Thank you for the experience ✨✨

A visit to Gallery FUMI is a reminder that great exhibitions are always a labour of love 💕 @gallery_fumi

The focus on what is handmade invites deeper questions about what materials and processes are capable of, and how singular and specific each object can be. Curating here is not about imposing a narrative, but about listening. It becomes a conversation between objects, between makers, and ultimately with the audience.

A solo exhibition represents a significant investment for an artist, not only financially but also emotionally. In this context, marketing feels less like persuasion and more like advocacy. At its best, it builds on existing relationships with collectors while opening the door for broader audiences to engage. Even those who cannot afford to acquire a piece are still invited to participate through stories, ideas, and shared curiosity.

Claire also spoke about the relationship between art and craft within the gallery context. Craft may still be considered a difficult word in some settings, but at Gallery FUMI it becomes a bridge, using language to speak clearly to a wider audience and meet them where they are. We truly appreciated the fresh perspectives Claire shared with us. Thank you for the experience ✨✨

A visit to Gallery FUMI is a reminder that great exhibitions are always a labour of love 💕 @gallery_fumi

The focus on what is handmade invites deeper questions about what materials and processes are capable of, and how singular and specific each object can be. Curating here is not about imposing a narrative, but about listening. It becomes a conversation between objects, between makers, and ultimately with the audience.

A solo exhibition represents a significant investment for an artist, not only financially but also emotionally. In this context, marketing feels less like persuasion and more like advocacy. At its best, it builds on existing relationships with collectors while opening the door for broader audiences to engage. Even those who cannot afford to acquire a piece are still invited to participate through stories, ideas, and shared curiosity.

Claire also spoke about the relationship between art and craft within the gallery context. Craft may still be considered a difficult word in some settings, but at Gallery FUMI it becomes a bridge, using language to speak clearly to a wider audience and meet them where they are. We truly appreciated the fresh perspectives Claire shared with us. Thank you for the experience ✨✨

A visit to Gallery FUMI is a reminder that great exhibitions are always a labour of love 💕 @gallery_fumi

The focus on what is handmade invites deeper questions about what materials and processes are capable of, and how singular and specific each object can be. Curating here is not about imposing a narrative, but about listening. It becomes a conversation between objects, between makers, and ultimately with the audience.

A solo exhibition represents a significant investment for an artist, not only financially but also emotionally. In this context, marketing feels less like persuasion and more like advocacy. At its best, it builds on existing relationships with collectors while opening the door for broader audiences to engage. Even those who cannot afford to acquire a piece are still invited to participate through stories, ideas, and shared curiosity.

Claire also spoke about the relationship between art and craft within the gallery context. Craft may still be considered a difficult word in some settings, but at Gallery FUMI it becomes a bridge, using language to speak clearly to a wider audience and meet them where they are. We truly appreciated the fresh perspectives Claire shared with us. Thank you for the experience ✨✨

A visit to Gallery FUMI is a reminder that great exhibitions are always a labour of love 💕 @gallery_fumi

The focus on what is handmade invites deeper questions about what materials and processes are capable of, and how singular and specific each object can be. Curating here is not about imposing a narrative, but about listening. It becomes a conversation between objects, between makers, and ultimately with the audience.

A solo exhibition represents a significant investment for an artist, not only financially but also emotionally. In this context, marketing feels less like persuasion and more like advocacy. At its best, it builds on existing relationships with collectors while opening the door for broader audiences to engage. Even those who cannot afford to acquire a piece are still invited to participate through stories, ideas, and shared curiosity.

Claire also spoke about the relationship between art and craft within the gallery context. Craft may still be considered a difficult word in some settings, but at Gallery FUMI it becomes a bridge, using language to speak clearly to a wider audience and meet them where they are. We truly appreciated the fresh perspectives Claire shared with us. Thank you for the experience ✨✨

A visit to Gallery FUMI is a reminder that great exhibitions are always a labour of love 💕 @gallery_fumi

The focus on what is handmade invites deeper questions about what materials and processes are capable of, and how singular and specific each object can be. Curating here is not about imposing a narrative, but about listening. It becomes a conversation between objects, between makers, and ultimately with the audience.

A solo exhibition represents a significant investment for an artist, not only financially but also emotionally. In this context, marketing feels less like persuasion and more like advocacy. At its best, it builds on existing relationships with collectors while opening the door for broader audiences to engage. Even those who cannot afford to acquire a piece are still invited to participate through stories, ideas, and shared curiosity.

Claire also spoke about the relationship between art and craft within the gallery context. Craft may still be considered a difficult word in some settings, but at Gallery FUMI it becomes a bridge, using language to speak clearly to a wider audience and meet them where they are. We truly appreciated the fresh perspectives Claire shared with us. Thank you for the experience ✨✨

A visit to Gallery FUMI is a reminder that great exhibitions are always a labour of love 💕 @gallery_fumi

The focus on what is handmade invites deeper questions about what materials and processes are capable of, and how singular and specific each object can be. Curating here is not about imposing a narrative, but about listening. It becomes a conversation between objects, between makers, and ultimately with the audience.

A solo exhibition represents a significant investment for an artist, not only financially but also emotionally. In this context, marketing feels less like persuasion and more like advocacy. At its best, it builds on existing relationships with collectors while opening the door for broader audiences to engage. Even those who cannot afford to acquire a piece are still invited to participate through stories, ideas, and shared curiosity.

Claire also spoke about the relationship between art and craft within the gallery context. Craft may still be considered a difficult word in some settings, but at Gallery FUMI it becomes a bridge, using language to speak clearly to a wider audience and meet them where they are. We truly appreciated the fresh perspectives Claire shared with us. Thank you for the experience ✨✨