‘Must not the structure have a genesis, and must not the origin, the point of genesis, be already structured, in order to be the genesis of something?' - Jacques Derrida



The Corridor is a narrow, tight space one feels comfortable in alone, but claustrophobic and guilty in when accompanied. It is like being a child playing under his bed, pretending that, with the sheets hanging down, he is camping, or a soldier in a trench, before a grown-up comes and ruins the fun by lifting up the… Continue

The ‘displaced New Yorker’, Lisa Bradley, here showing her interactive piece ‘Studio’, is surprised at the lack of politics in her fellow students’ work. ‘I’m surprised, because there is so much in American art right now, but nothing here, even concerning the world outside,’ she says. It is true, that on face value, there seems to be very little preoccupation with current affairs in this exhibition, an interim show of MA and Research works from the University of Middlesex art faculty, but if… Continue

Art is the most elitist thing on earth. The most valuable thing around the dinner tables of the middle classes is to be able to talk in an educated manner about fine art, high literature and classical music. You don’t want everyone understanding.

Will Martyr, artist.



At the age of twenty-four, I began to read Proust. I don’t know why; I had built up a reputation for him in my head that was completely uninformed other than through the perceived gravity of the name – I… Continue

On first contact with Will Martyr’s work, a series of three inflated PVC rhinos, I fail to see the humour and point immediately to its seeming anti-capitalist stance, replete with Constructivist graphics, boardroom scenes and propagandist slogans, that, concurrent with a shrinking economy and panic in the streets of the City, strike as an ‘I told you so’ slap in the face.



I call to meet him at the… Continue

Twenty-two year-old Rhiannon Hunter appears to be in physical conflict with her own work. Her prints depict cold, empty, derelict spaces primed for the wrecking ball, that could be filmed to a soundtrack of Joy Division’s Unknown Pleasures. She blushes keenly when I compare the graphic qualities of these prints, which she completes by hand, eschewing computers and machines, to the cinematography of films such as Waltz With Bashir and Sin… Continue