Image: Felipe raizer moreira


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 courtesy of Ellen Jantzen


Translated into English.

Lisbon, August 7, 2019 - Fabrica Braco de Prata devote the months of August and September "the tension between appearing and disappearing that characterizes contemporary art", in the words of curador art and "materializing" factory, Professor Nuno Nabais Philosophy. The starting point is an exhibition, curated by British Diana Ali, entitled Loss & Lucidity. The collective, which brings together 59 artists of different nationalities and belonging to distant aesthetic traditions, “questions on how to find clarity and closure. It allows the artists to then find answers on how the unexpected can be avoided instead of calculated or measured, because ultimately, our possessions may have disappeared, but we are still here," says Diana Ali.

The full list of artists is
. Visitation August 8 and September 18.

Curator of art and "materializing" Factory Arm Silver, Professor of Philosophy Nuno Nabais writes about Loss & Lucidity. Read below:

"Art is what appears just to show up. Before having a meaning, a form, a story, each new object - created according to the aesthetic regime - mainly responds to a need for appearance. It is created to be seen, heard, touched or read. And what defines your work of art is precisely this ontological status of autonomy, that is the fact that the art object, be it beautiful, sublime, ugly or sinister, just the act of appearing. There is another way of thinking that is common to all the works that we recognize as art. Art is what appears and is conserved in this simple show, with no other purpose than to stay in this appearance (a museum, a computer monitor, a public place or a private place). Since Plato that this autonomy appears in art experience was disqualified as appearance. The West is defined largely by this double equation art = false appearance = / = real what-not-appears = true. You traverse so the pursuit of knowledge for the ideal sphere to the sphere of what is captured only by concepts. Only what can be learned out of any vision, hearing, or reading tangibility, is respected as real and as true.

The whole art of the twentieth century is crossed by the ruin of this evidence. On the one hand, bringing functional objects with an inherent meaning and usefulness of the system for the interior of the appearance of artistic objects. It was the famous case of urinal Marcel Duchamp. By the simple act of making appear as pure pop up a urinal sink by placing it in the center of an art gallery, Duchamp showed that anything could be transformed into art since it is subordinate to pure devices appear. On the other hand, especially in the field of performing arts, contemporary art work experience, not so much the appearance of something, but rather, to his disappearance. Extreme event is perhaps the film of João César Monteiro Snow White. Nothing appears. It is a film is a work of art yes, but that brings up your own demise.

The Silver Arm Factory wants to devote the months of August and September thinking this tension between appearing and disappearing that characterizes contemporary art. Your starting point is a group exhibition curated by Diana Ali. With the title "Loss and Lucidity", 59 artists of different nationalities and belonging to very distant aesthetic traditions, erode our concepts of "appearance," “look ".

The bottom line is, as it appears in the art what is lost, what happens as disappearance? Will lucidity before the loss, acute awareness of a void left by what has disappeared, now defines the appearance regime of artistic creation? And this clarity (at the same time as perceptual awareness mode and how ethical experience of mourning for the missing), it will have the status of "revealing" of what is to be seen in the artwork? "

The whole art of the twentieth century is crossed by the ruin of this evidence. On the one hand, bringing functional objects with an inherent meaning and usefulness of the system for the interior of the appearance of artistic objects. It was the famous case of urinal Marcel Duchamp.

By the simple act of making appear as pure pop up a urinal sink by placing it in the center of an art gallery, Duchamp showed that anything could be transformed into art since it is subordinate to pure devices appear. On the other hand, especially in the field of performing arts, contemporary art work experience, not so much the appearance of something, but rather, to his disappearance. Extreme event is perhaps the film of João César Monteiro Snow White. Nothing appears. It is a film is a work of art yes, but that brings up your own demise.

Hayley Lock

Norwich, UK

'Living aligned with the present moment'

Graphite on Fabriano (69 cms x 69 cms)

In the stillness of your presence

Exploring altered states, catharsis and transcendental experience through hypnosis, Lock mines deep into the unconscious, attempting to access and channel conversational dialogues across parallel timeframes, often to euphoric rapturous ends.  Living aligned with the present moment references one of these recent journeys, exploring the tactile, sensuous, intimate space of this void through drawings, sound and objects.

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. 

Linda Khatir

Dartmouth, UK & Sala, Sweden

'Empty Chairs'

Drawing/ prints on paper (4 drawings 30x30cm)

This series of drawings began with an interest in chairs and their shadows, and in vintage photos taken soon after the sitters had been killed, including Abraham Lincoln, Malcolm X, and Carl Muller (the last prisoner to be executed at the Tower of London). The chairs displayed here may seem less important historically but their display of absence is equally symbolic.

Michele Whiting

Bath, UK 

'The land my body'   

Series 1-20 x Drawings (Fabrica)


Series 1-4 x Drawings (Appleton)

The drawings are walks; the walks are drawings. 

Losing a memory means losing sight of a thing, it takes place over time, and in the same way that walking takes time raises questions of how might a durational walk of many miles and hours allow a certain type of saturation to happen in the mind’s eye.  My drawings from memory are mediations between my body, the landscape and the act of drawing in and of itself; in Rebecca Solnit’s words ‘ how the body measures itself against the earth’ for me that is so but it also reduces the act to a singular activity outside of  ideas of observation, saturation and memory. My purpose is to record  through drawing, memories of time spent walking through a landscape before the recollections become lost and insignificant. For me, the act of walking is the start of a more intricate dialogue with the land, proximity, geology, my body and observation, where acts of memory in conjunction with making (the drawing) bring to the fore illuminations of colour, form, and movement as small lucid revelations. 

Maddie Lainchbury

Birmingham, UK

'Strength in Loss'

 Large Video Photography Animation Projection

When somebody important leaves a child without saying goodbye, it can create an illusion of loss. When in fact it allows you to look up to role models who are in your life because they choose to be. Each role model I’ve looked up to has influenced my life in different ways and it is my choice of who I allow in to take their place.

John O'Hare & Tom Phipps

Bristol, UK

'Three Meals from Anarchy'

Digital animations (5 mins)

Following zero hour contractors turned away from work. Unable to return home due to their suspicious landlords they descend upon the local park, and intoxicated by their new found freedom they dance wildly into the night until their pangs of hunger leads to jealousy and a sobering sense of reality.  

Louise Gridley

Bury St Edmunds, Suffolk, UK

'Innocence Lost'

Slip-decorated & glazed ceramic tiles (22cm)

I’ve been exploring the relationship between man and horse and have recorded both beings together in their natural, naked forms. 
The recording process attracted unwanted male attention; the female form was objectified by the male gaze. It appears that, as a society, we have lost the innocence associated with nudity. We live in a world where man has learned to be suspicious of nakedness. Beauty, freedom and inhibition have been replaced with something much uglier and shameful, exposing the darker side of human nature.  
My images celebrate the beauty and innocence of the nude but also highlight something lost with our society. I have presented my images in ceramic form in celebration of Lisbon’s rich heritage of the ceramic tile.

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. 

Space Place Practice

Space Place Practice is an artists’ research collective which comes together to create dialogues and to develop projects informed by a shared interest in notions of space, place and creative practice. These are....

Anwyl Cooper-Willis
Bristol, UK

‘Untitled (Rudder)’

(Frottage, oil pastel on waxed calico. 310 x 98 cm)

What is a rudder without a ship? The boat is lost, the rudder willing but unable, functionless. It is 130 years old, a testament to the skill of the shipwrights, surviving beyond its time, it is now lost. The textile holds a shade of the object translating its fragility.

Victoria J E Jones

‘Harena: The Smell of Absence, The Smell of Pause, The Smell of Presence’

(Olfaction installation)

Sand is a finite resource, and demand for sand for use in construction is rapidly accelerating. The movement of sand from one site to another creates an absence in one place, a presence in another. A void and a form. Balance disrupted. What would happen if these processes were slowed, suspended or stopped? This series of olfactory works is intended to invite us to reconsider the materialities of contemporary urban futures and the geo-politics of sand.

The work was developed as part of a ‘Creating Earth Futures’ commission, a Leverhulme funded project through the Geo-Humanities department of Royal Holloway University.

Suze Adams
Bristol, UK

‘Creatures (animal, vegetable, mineral)’

(Sculpture/installation, plastic, paper, paint)

Creatures are my response to the sudden death of my partner – an instinctive reaction to the world as I now know it. They were inspired by a trip to Inle, Myanmar and a group of small, temporarily lost Buddhas. Much as the Buddhas have been re-found, I am re-finding myself and, in the process, a semblance of lucidity after the loss of P. 

 Sarah Rhys
Bristol, UK

‘Ghost Chair’
 Photograph on Somerset enhanced paper (60 x 70 cm  framed. Limited edition of 25)

Ghost Chair is part of a seriesof works that involved taking this old chair, an ancestral heirloom, to different places, both as a performative act and as an artwork.

Ghost Chair has a presence that also speaks of absence. There is a sense that many have belonged to this chair in the past, however this chair no longer offers any kind of ‘seat’. It holds an empty space like a chair in ‘Gestalt’. 

Dr Pippa Galpin
Malvern, Worcestershire

‘Floor Rubbings - Illuminating Secrets’

(Wax and pigments on paper)

Red quarry tiles line my kitchen floor. Largely unseen and unremarked, they nevertheless hold a secret history: the haptic impact of movement over time, of the opposing forces of wear and accretion. From their rubbings a network of capillaries and chasms emerges, evoking all that has been forgotten. 

Maureen Gamble
Malvern, England

‘Marking Time’

Digital photography(W235cm x H435cm)

Marking timewas a durational work made between 15.00 hrs and 16.00 hrs on 20/04/17. At set intervals throughout the hour, I recorded sunlight falling directly onto the same spot on the floor of an interior space. Marking Timewas an opportunity to engage with the present and the here and now.

 Lydia Halcrow
Bath, UK

‘Ground Texture Recordings’

(Drypoint print, handmade ink from earth on Hahnemühle (78 x 53cm)

‘All the Plastics’ 

(Photo etching on Hahnemühle (70 x 45cm)

This work responds to a series of walks along the Taw Estuary in North Devon, UK. Ground Texture Recordings uses a technique I have developed, wearing modified walking boots to record the contact between each foot-step and the surface of the ground onto metal. Each walk creates an etching that I print with using earth collected along the walk. All the Plastics is part of a wider grid series and acts as a visual archive of every piece of plastic that I collect that has been deposited by the sea at the high tide mark along the estuary. 

Victoria Walters
Bath, UK

‘On Longing’
(Willow charcoal drawing on paper, 500mm x 705mm)

When I first visited Lisbon, I was captivated by the Portuguese fado tradition and its powerful evocation of saudade, longing and loss, the hard realities of daily life and hope for their resolution. For the exhibition I have developed a charcoal sketchbook drawing made in response into a larger work.

Rob Irving
Frome, Somerset UK

(3 stills from a short film: Porlock Weir. Digital images)

Three stills for a short film, slowed down, recording 7 minutes of estuary tide at Porlock Weir, West Somerset, UK. This area has always been a liminal space between land and sea, and with rising tides it is being left for nature to take its course. 

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. 

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 HD video 

“Катюша (Katyusha)” is a three channel video piece based on material collected at Pyramida, a show-case community established by the Soviet Union in the Svalbard territory in the high Arctic. At its peak Pyramida was home to more than 1000 coal miners and their families. It was evacuated in two days in 1998 leaving a ghost town. "Катюша" presents three characters who personify different aspects of Pyramida - The Guide (a gray sea bird) & two Lovers (a basketball player and a ballet dancer.)

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


Archival pigment prints on sheer fabric
Three pieces 40 cm wide x 1.625 meters high (the height of my mother)

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 (4.29 minutes)

Clinical and cutting, but ever candid: British contemporary visual artist James Paddock introduces, ‘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. Spectators look on helplessly at a man they see but cannot hear in this disconnected sociological metaphor.

Marc Renshaw

Grimsby, UK 

‘M180’ (HD Digital Print on Aluminium, 12cm x 12cm)
‘Services’ (HD Digital Print on Aluminium, 12cm x 12cm)
‘Motsobes’ (HD Digital Diabond Print,10cm x 15cm)
‘Some things are just too sad’ (HD Diabond Digital Print, 10cm x 14cm)
‘Things never really’ (HD Diabond Digital Print, 10cm x 10cm)

- Nostalgia for a time that never really existed in the first place.
 - Europarc an ‘island’ of business activity located on the outskirts of Grimsby.
-  Capital development strategies. 
- Loss adjusterity.
- Does drawing offer the artist a form of redemption? Is it possible to draw a new future?

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  

Through interactive engagement leading to the transformation of a drawing into sculpture, the piece shifts into a substantively different level of interpretation.

Diane Maclean

St. Albans, UK

'Fallen Leaf'

Stainless steel & coloured stainless steel sculpture (53x10x7cm)
'Leaf Illusion'

Stainless steel & coloured stainless steel sculpture (53x13.5x7cm)

“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.