Image: Ruth Eckland


The exhibition explores what it is to lose something, someone, some direction and some sense of self. But is it so bad to be a flaneur, flaneuse, in wanderlust, in terra incognita, a nomad, a shaman, a drifter?

A fantastic array of international artists come together in one space to find lucidity in that loss. Through various retrieval methodologies the artists explore navigational strategies, emotional celibacy, memories, reinvention, survival skills and escapism. Work exhibited include film, animation, photography, installations, drawings, paintings and sculpture to keep hold of old ties, retrace steps and to experience the joy of retrieval.

The exhibition asks the audience how we find clarity and closure when the subject has ceased. It allows the artists to answer how the unforeseen is evitable not calculated or measured because ultimately our possessions may have disappeared but we are still here.

Image: Ellen Jantzen

Al Pitt

Swindon, UK

'Dark Light'


Elements signify narratives only the owner understands. The image shown here represents the complex psychological thoughts. Although the room is one of a neighbours, the chair in particular is an object which I connect with. My father had his own seat. Light shining through the red curtain communicates pain and hope. 

Aaron Oldenburg

Baltimore, MD, USA


Video documentation of video game (5m28s)

This is a videogame about finding and then placing a loved one in the afterlife, an agnostic encounter with one's own belief system when dealing with death.  It starts with the death of a partner, and after, the player encounters obstacles in their life that can be overcome only by incorporating the imagined presence of their departed lover into their life. 

Elif Cankurt

Istanbul, Turkey

'This Small Bravery of Knowledge'

6 photo prints (30x45 cm)

Digital combinations of old negatives and positive images referring to the transition of  “the unity and conflict of opposites” in dialectical principle.  The feeling of being lost and found, the loss and lucidity creates a different aura, a perception of encounter and awareness.  Photography causes opposite feelings. 

Seyed Mohsen Pourmohseni Shakib

Guilan, Iran

'Lost In Limbo - Medusa - Sofia - Blindness - Repression - Help Me!'

Conceptual Photography (30x40cm each)

From Mind To Eyes collection was a journey through the labyrinth of my unconscious to find my own lost identity. In the process of creating this collection, I’ve learned that my identity as a human was more than dichotomy of concepts such as man and woman, elegance and inelegance or gay and straight which has been captivated humankind through itself as long as man's consciousness history. 
Finally, this was the word “I” which tried expressing itself powerfully throughout these self- portraits to liberate its own truth from any kind of categorizing. 

Laurel Terlesky and Bren Simmers

Squamish, B.C., Canada

'Narratives of the Lost'

Graphite, printed text and photo (11"x7")

Narratives of the Lost is a collaboration between Laurel Terlesky and Bren Simmers featuring photography, poetry, and drawing. The project began with pictures of lost objects taken on daily walks around Squamish, B.C., where they both lived. By framing these lost objects as art—gloves placed carefully on branches for their owners to reclaim—they become an entry point into narrative, sparking conversations about connection. Who did these items belong to and how do they reflect our changing community identity?

Stephen Hilyard

Madison WI, UK/USA

'Катюша (Katyusha)'

3 channel video installationКатюша (Katyusha)” is a 3 channel experimental movie set in Pyramida, a Soviet ghost town in the high Arctic. "Катюша" presents three characters who personify different aspects of Pyramida. The voice of a Soviet numbers station recites the names of the missing.

Pascal Anson MA(RCA)

London, UK

'Butterfly Chair'

 3x A2 unmounted satin photographic prints 
(side and rear elevations and three quarter view) 

The Monarch butterflies do not understand ‘chair' but they do understand the structure of wood. I want to show the loss of functionality of a plain chair as the butterflies cover it, and how the butterflies have lost their way choosing to land on a chair instead of an Oyama tree.

Douglas McCulloh

Los Angeles, California USA

'This Small Bravery of Knowledge'

Archival Inkjet on plexiglass (7x 1.625 meters x 40 cm each)

My mother died by slow degrees. Her disappearance—first her memory and eventually herself—took about a year-and-a-half. I was with her every day, or almost every day. I tried to be a decent human. “It is the little we can do,” wrote poet Charles Bukowski, “this small bravery of knowledge.” Each piece is the height of my mother. Each short text is 89 words long, one word for each year of her life.

James Paddock

Southampton, UK

'Lost Person'

Wall video installation (4 minutes)

Clinical and cutting, but ever candid: British contemporary visual artist James Paddock introduces his most recent work, ‘Lost Person’. The moving image piece directly targets a current social sore spot: mental health, as it holds a mirror up to a malignant loneliness that spreads throughout society today. Paddock plays on themes of detachment and isolation in his artwork and with his audience alike. As spectators look on helplessly at a man they see but cannot hear, the disconnection in this sociological metaphor gives us a pause for thought: who is lost here?

Marc Renshaw

Lincolnshire, UK 

'A life spent trying to find something'

Drawing and digitally manipulated photography (6 x 12cm x 12cm)

Loss of youth 
Loss of my hair
Loss of my alter-ego X 
Recently departed sister
Europarc drifting and Long Beach reveries 
Is it possible to drive into the past? 

Nostalgia for a time that never really existed in the first place

Doreen Maloney


‘Memory is like a Cloudy Day on a Wintry Beach’ (41s)

Given the current political climate and the incredible news reported daily in the media with little consequence, I came to the conclusion that human communication has collapsed and that the world has become prisoner to mute outrage.  As a prisoner, I am creating a series of poems for AIs or other prisoners.  They are beautiful and can be read only by machines, or someone who knows Morse or Tap Code (the code used by prisoners to talk to each other while in confinement.)

Ruth Eckland

California, US

'When Time Folds Back'

4 minute video, 2018 (Music Matt DiFonzo)

Mystery, possibility, magic arise from the interstices between worlds, between states of mind. Sometimes insight arises spontaneously. Sometimes there is a messenger, a guide. Often art is the map. In When Time Folds Back, memories of loss, longing and letting go are layered, interwoven as in a dream. The music at times reflects an inner state of yearning, and at other times serves to urge movement forward from the state of reflection and rumination on the past. Healing takes place by focusing on the present.

Klaus Pinter


'Untitled & Crumpled Piece'

Cardboard Sculpture and letters  

Diane Maclean

St. Albans, UK


Stainless steel sculpture (52x14x8am)

“The leaves were falling like notes from a piano. The abstract was suddenly there and gone again.” Wallace Stevens

Inspired by nature, in my work I search for an illusive form. A form I come back to again and again, is the shape the wind makes on sand or the shape of a flame, a fish, a leaf.  I claim it for my own but it exists everywhere.

Nell Arthur

Grantham, UK

'John Kendle Mant'

Text and Fabric Installation
(Height: 3.5 meters.  Width: 0.5 meters)

Layers of text overlap, twist, deform and reach critical mass before falling away to nothing. This work is a visual timeline of Dementia reaching its conclusion. This work is dedicated to my family and my Poppa.

In Loving Memory.
John Kendle Mant.
6thMarch 1926 – 4thMarch 2012.

Sara Lucas Agutoli

London, UK


Paper, wood, tiles , anatomic skeleton, plaster, acrylic paint, shoes, rubber bands, balsa wood
plaster, golden leaf, rubber bands, balsa wood, acrylic paint

Sara Lucas Agutoli merges popular themes with art’s metalinguistics through a learned and symbolic system of citations. Working with different media she reflects on the idea of on going transformation – of the spaces, of the body, as well as of aesthetics – and creates her personal architectures drawing on her inner experiences, knowledge and vision

Alex Stuart-Hutcheson

Brighton, UK

'Fractal Eyes'

ASH Designs by Alex Stuart-Hutcheson
Video Installation (3m50s)

From experiencing paralysing dizziness and ill-health, to finding inner balance and purpose. Moving from the buzz of the city to a windswept remote island on the Outer Hebrides of Scotland. 

Awarded funding through the VACMA Awards from National Lottery Creative Scotland and the local Council (CneS) to develop a 3D Kinetic Art Installation with Video Projection Mapping.

This video shows me bringing some local people together. 

Tom Waugh

Wellington, UK

'Squashed Box'

Archival Inkjet on plexiglass Portland Stone & white marble 
(7x 1.625 meters x 40 cm each)

A discarded Cardboard box documents the minute imprints of human use alongside traces of mass production, destined to become lost in the mountain of trash. 

The Anthropocene age is the current geological era marked by significant human impact on the Earth's geology and ecosystems. In reaction to this Tom Waugh carves hyper-realistic sculptures of trash in stone and marble. These pieces highlight modern concerns about our environment using the traditional materials and techniques of stone sculpture. In these works discarded objects document the minute imprints of human use. Bags, boxes and cans are squashed, crushed and wrinkled whilst still displaying the traces of mass production. There are echoes baroque drapery, ‘Pop Art’ and ‘Objet Trouve’but ultimately the works seeks to explore the transience of human life in stark contrast to the permanence of stone and marble.

The work seeks to find beauty in the mundane and highlights the transience of human life in stark contrast to the permanence of stone and marble.

Claire Bowman

Berkeley, California USA

'Samsara, Abatement, Requiem'

Oil on Canvas (16x20" each)

Objects often elucidate emotions associated with loss. Three paintings, Samsara, Abatement, and Requiem, served as my exercise in accepting death. The objects shown elicit a desire to possess the fleeting warmth of the moment, soon to be transformed into tokens of loss.

Gill Hobson

Lincolnshire, UK

‘Spaces of Pause & Transit’

A collection of photographic images highlighting the architectural dark matter of daily life.  Accenting the uncanny nature of these ‘between’ spaces, the series reveals the peculiar stillness of containment spaces that find purpose through presence.

Beck Howson

Birmingham, UK

‘Do not Bend’
'Fragile 1'
'Fragile 2'
'Fragile 3'
'Please do not crush'
'This side up'

Processes: screenprint, stencil, letterpress printing and rub down transfer type techniques developed to create these pieces.

Typography and printed postage ephemera form an exploration the subject of being lost. Text has been re-appropriated using cut and paste techniques to change the context of the messages and create new meanings for functional slogans. The messages now form a visual language that communicates a want, a need and hope.

Nick Samsworth

Hereford, UK

Going By The Lead’

(Digital print of original artefact made of lead , rope beeswax ,leather, canvas & steel)

[Going by the Lead, taken from Turner's painting 'Snow Storm -Steam boat off a harbours mouth Making signals in shallow water and going by the lead', was] the line used by sailors to find the depth of water , the line with a lead weight on the end and markers at fathom intervals was used  to find safe passage. The materials came from my father's house so beyond the other references in a more personal way they are about me feeling lost after he died and looking to our shared love of the sea to make some sense of it......

Lou Hazelwood

Hull, UK


A set of four photographic vinyls (420x297mm) 

At the time of mass picketing and labour movements fighting for the rights of miners in 1980’s England pop cultures statements were branded like newspaper headlines. These statements often printed on t-shirts were worn by working class young people and juxtaposed the stark reality of their life. These found images taken by miners, on their one weeks holiday a year at Derbyshire Miners Camp in Skegness, (a northern UK seaside town on the East Coast) show their children wearing these statements unaware of the political losses to come.
In our own life time the moment becomes the memory and the political situations resurfaces and we are forced to re-look and re-engage and take action.


Sony Walkman & tape cassette

The loss of a parent, of a connection, of many conversations, of boundaries, of rebellion, of love, of arguments, of laughter, of memory.
A voice is undeniably them, and what we commonly lose. Taking answerphone messages and editing together the introductions, listening to the voice of my dad (deceased) repeating ‘It’s only your dad’ interjected with the answer phone bleep trying to recreate a sense of lucidity from loss and probably failing.

To be played on the artists walkman, a present from her dad and recorded onto cassette tape creating an intimacy for those that have never met.

Gary Mansfield

Essex, UK


Onyx, Resin, Dust (90x 220 x 265mm)

With my loss of liberty came loss of identity, shattered and scattered in a world of indignity.
I recognise all parts of the ‘me’ that took seven years to rebuild; I embrace, lay bare and solidify my [perfect] imperfections.

Among the dishonest I found honesty.

Josh Wells

Sheffield, UK

'Art is my state of existing; the state of existing is art' 
(Painting 1.5m x 1m)

My life has always been filled with ideas of lucidity on how I perceive reality and the state of existing. The battling thoughts of loss from reality, to my own reality being manifested by paranoid delusions and hallucinations, creating a project that uses the three levels of consciousness; conscious, the subconscious, and the unconscious to describe how I perceive my own self-identity, to describe the indescribable.
"Maybe I'm losing my mind, or maybe I'm finding it"

Carolyn Morton

Birmingham, UK

'Embroidered Truth I: (your) absence is felt more than (your) presence'
(calico, hand stitched with silk thread 22x26cm)

'Embroidered Truths II: (   ) good enough'
(calico, hand and machine stitched with silk thread, glass and wood 48.5x38x6cm)

My practice is about transformation through making; of materials, experiences and encounters with people and places. 

‘Embroidered Truths’ draw on traditional samplers as both method and display of skill.  Threaded with home truths, they transformed my sense of loss of what was into appreciation of what is and what could be.

Daxa Parmar

'Palma de Mallorca, Spain'

'60 moments of lucidity to find you and me in me after I lost you'

Installation/Mixed Media
(Plastic containers, Salt, Flour, Rice, Printed photographs/drawings/writing on labels, Grocery receipts, Rubber Elastic bands,Clear adhesive Tape, Blue Biro)

Loss:Displacement:Discovery:Renewal: Homage to Mum who passed. 60 moments on tubs containing her essential cooking ingredients. Objects she used to, contain, label and secure meals for me. ‘0’, and ‘60’; motifs in my work referring to an eastern philosophy of time renewing itself. ‘0’ represents ‘nothing’ yet complete, containing ‘everything’ within.

Kate Orme

Huddersfield, UK

‘Chianti Anamnesis 1’ & ‘Chianti Anamnesis 2’

(Printed aluminium sheet)
I recollect a scorched, cricket scritched day in Chianti, perfumed with the purple ripeness of figs and grapes;  or do I?  When wrapped in time is my memory a construct, a snatched glimpse between the stitched rents of that dimension? Is there lucidity in memory or just loss and trickery?

Madeline Djerejian

New York, USA

'Inscape (In Memory of Dore Ashton)'

Mixed media installation: books, photograph, Ganesha statue, fresh flower and fruit, rocks, seashells, crystals, animal fetish, incense stick & stand, perfume, fabric (Size: variable)

Drawing upon objects traditional to a daily Hindu puja, Inscape is a multi-sensory call to remember and honor the life of my friend, the American art writer Dore Ashton (1928- 2017). Fruits, flowers, incense and other assorted objects symbolize how I welcome and entertain the memory of my friend into my home. 

Tony Bowen

Brighton, UK


2268 HMP Holloway – Affections
6199 Kemptown - Claire Forever
5952 Eastbourne – Regret
6249 Wanstead Flats – Rumour

(30cm x 30cm (framed to 52cm x 52cm); Colour Photographic Pigment Print on Archival Baryta Paper)

These photographs examine found glass surfaces between London and Sussex (usually street furniture), Gradual narratives emerge, combining natural marks and deliberate interventions, leaving atmospheric echoes of what each space has witnessed. Touching traces of ‘being human’ are occasionally evident, especially of affection, love, loss and hurt. These traces trigger a forensic curiosity, provoking the imagination in unexpected ways.


Fadings: Untitled 2
Fadings: Untitled 5
Fadings: Untitled 6
Fadings: Untitled 10 

(20cm x 20cm (framed to 40cm x 40cm); Black and White Photographic Pigment Print on Archival Baryta Paper)

These photographs examine the surface of the ground following the annual 'Pride' event in Brighton. As a temporary 'citadel' is built, the ground in parts is crushed before 80,000 people celebrate tolerance and diversity in all its forms. Suddenly, the party's over and everything 'disappears'. Suffocated grass, its complexion transformed, vividly delineates a surreal topography of absence and loss. The healing process begins, the ground gradually consumes evidence that anything ever happened and memories begin to decay.