Special Works School (2018)
Special Works School (2018)

Video & Sculptural Installation

Gallery TPW January 13–February 24, 2018
Opening Reception: Saturday, January 13, 2:00–5:00 pm
documentation by Toni Hafkensheild

 “Special Works School” takes its title from a codename used by the British War Office between 1917 and 1919. The original moniker denoted a military unit of artists—painters, textile artists, scenographers, designers, sculptors, and scenic painters—employed to develop camouflage technology. Instead of rendering their surroundings with utmost accuracy, the artists in the Special Works School were charged with making things disappear.

“Special Works School” takes its title from a codename used by the British War Office between 1917 and 1919. The original moniker denoted a military unit of artists—painters, textile artists, scenographers, designers, sculptors, and scenic painters—employed to develop camouflage technology. Instead of rendering their surroundings with utmost accuracy, the artists in the Special Works School were charged with making things disappear.

 “Special Works School” transforms Gallery TPW into the speculative workshop of a surveillance artist. Throughout the gallery, objects and experiments stage the problems and possibilities of camouflage, and the accompanying video delves into its multi-sensory potential through an operatic, polyphonic exchange.

“Special Works School” transforms Gallery TPW into the speculative workshop of a surveillance artist. Throughout the gallery, objects and experiments stage the problems and possibilities of camouflage, and the accompanying video delves into its multi-sensory potential through an operatic, polyphonic exchange.

 Through this new body of work, Bambitchell asks: what is the sound, feel, and smell of surveillance? What does an aesthetic approach to surveillance render visible or, indeed, invisible? Framing surveillance as an aesthetic practice, “Special Works School” hones in on its psychic, material, and embodied dimensions, working from the positions of both surveillor and surveilled.

Through this new body of work, Bambitchell asks: what is the sound, feel, and smell of surveillance? What does an aesthetic approach to surveillance render visible or, indeed, invisible? Framing surveillance as an aesthetic practice, “Special Works School” hones in on its psychic, material, and embodied dimensions, working from the positions of both surveillor and surveilled.

4Experiments_curtain facing.jpg
5Stencils_side.jpg
5Stencils_z.jpg
4Experiments_purple_stage and sand2.jpg
4Experiments_cyan_stage and sand2.jpg
6Sand_sand.jpg
6Side sand_cyan.jpg
6Side sand_purple.jpg
Special Works School (2018)
 “Special Works School” takes its title from a codename used by the British War Office between 1917 and 1919. The original moniker denoted a military unit of artists—painters, textile artists, scenographers, designers, sculptors, and scenic painters—employed to develop camouflage technology. Instead of rendering their surroundings with utmost accuracy, the artists in the Special Works School were charged with making things disappear.
 “Special Works School” transforms Gallery TPW into the speculative workshop of a surveillance artist. Throughout the gallery, objects and experiments stage the problems and possibilities of camouflage, and the accompanying video delves into its multi-sensory potential through an operatic, polyphonic exchange.
 Through this new body of work, Bambitchell asks: what is the sound, feel, and smell of surveillance? What does an aesthetic approach to surveillance render visible or, indeed, invisible? Framing surveillance as an aesthetic practice, “Special Works School” hones in on its psychic, material, and embodied dimensions, working from the positions of both surveillor and surveilled.
4Experiments_curtain facing.jpg
5Stencils_side.jpg
5Stencils_z.jpg
4Experiments_purple_stage and sand2.jpg
4Experiments_cyan_stage and sand2.jpg
6Sand_sand.jpg
6Side sand_cyan.jpg
6Side sand_purple.jpg
Special Works School (2018)

Video & Sculptural Installation

Gallery TPW January 13–February 24, 2018
Opening Reception: Saturday, January 13, 2:00–5:00 pm
documentation by Toni Hafkensheild

“Special Works School” takes its title from a codename used by the British War Office between 1917 and 1919. The original moniker denoted a military unit of artists—painters, textile artists, scenographers, designers, sculptors, and scenic painters—employed to develop camouflage technology. Instead of rendering their surroundings with utmost accuracy, the artists in the Special Works School were charged with making things disappear.

“Special Works School” transforms Gallery TPW into the speculative workshop of a surveillance artist. Throughout the gallery, objects and experiments stage the problems and possibilities of camouflage, and the accompanying video delves into its multi-sensory potential through an operatic, polyphonic exchange.

Through this new body of work, Bambitchell asks: what is the sound, feel, and smell of surveillance? What does an aesthetic approach to surveillance render visible or, indeed, invisible? Framing surveillance as an aesthetic practice, “Special Works School” hones in on its psychic, material, and embodied dimensions, working from the positions of both surveillor and surveilled.

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