A Cork for Platform

By Emily Motto

March 15th, 2017

Taking cues from the building's previous life as a cork warehouse, we've invited artists to come build new 'corks' to fit, fill and complete the building in some way. Here are some of the artists who've contributed to the project so far:

Hannah Clarkson

Hannah has been creating new works in roofing felt and silk thread, taking their folds from shapes found in the building. Process-lead, her practice emerges from repetitive processes and a sense of play through materials.

www.hannahclarkson.co.uk

Ed Haslam

Ed has been working with natural and manmade materials. This editing nature through different processes resonates through platform as he suggests forms growing through holes in its structure.

Jude Lunn

Representing the detritus of a post-industrial, post-modern era, Jude's work seeks to inhabit empty and forgotten spaces within the fabric of the building - occupying a liminal space between the familiar past and an uncertain future. As development and gentrification reshape the urban landscape at a relentless pace, these hand-made structures are a reminder that there is also a human dimension to the city which should not be forgotten.

www.judelunn.com

Tuli Litvak

Working with golf equipment, Tuli has been inspired by holes in Platform's brickwork to draw attention to the fact that even what seems initially an imperfection can actually be a 'fulfilling and perfect space'.

www.cargocollective.com/tulilitvak

Cacciuttolo & Castelo Lopes

The collaboration between Giulia Cacciuttolo & Sebastiao Castelo Lopes aims to investigate the public's reaction infront of given stimulus by constantly questioning the given status of an object, composition or material. Their interests in poetry and photography have lead them to integrate photographs taken in surrounding areas of the building to fill holes found inside.

www.giuliacacciuttolo.com www.sebastiaocl.wixsite.com/castelolopes

Jessica Knight

Jessica works with textiles and uses couture sewing techniques as a way of sculpting in cloth. In order to 'colour' the fabric, Jessica uses both traditional dying methods and modern digital printing. Logwood dye, with its history bound up in the Atlantic slave trade c.1800, is presented and re-presented throughout her work; and here, echoes patterns of colour developing in Platform's ageing ceilings.

www.jessicamarieknight.com