An exhibition by Lucy Harris, Idit Nathan and Sarah Wood, 2017

Viewfinder installation

In a world shaped by visual information can we trust what we see? In response to the 2017 Festival of Idea’s exploration of the concept of truth, artists Lucy Harris, Idit Nathan and Sarah Wood experiment with optics, scale and perspective to cast light on the contemporary framing of visual evidence.

Welcome to Britain

Screening, 2017

At a time when discussion of border control and exclusion pens in national and international political debate, Welcome to Britain reflects on Britain’s historical relationship to the movement of people. What is possible in a welcome? What does British hospitality mean? Combining archive and artists’ film, including recent work by Sarah Wood, Alia Syed and Anthea Kennedy Welcome to Britain opens up the argument.

Curated by Lucy Harris

February 2017
Close-Up Cinema, London


Artist residency, 2016

Caravanserai installation

Caravanserai interiors

Caravanserai collages

The caravan and the postcard both speak the possibility (and memories) of movement and travel. Even when static, caravans allude to past journeys, with their windows creating multiple mobile framed-views and continually changing perspectives. While postcards can act as both as observation and record – with their handwritten ‘travelling memories’ of particular places on one side and framed views on the other.

During the Caravanserai residency Harris made a series of drawings and collages that re-viewed ideas concerning landscape, access and movement deploying postcard collections as source material. The works explored the relationship between the postcard as a single narrative image (or single ’film frame’) and its potential to create a filmic sequence, opening up new narrative possibilities.

The works installed inside the Caravan aimed to ‘transport’ the audience as they were encouraged to investigate the caravan’s bespoke furniture, to reveal the work and create their own potential journey through the actions of selecting and ordering different reconstructed views.

This research contributed to Pastoral Permits.


One Place After Another, ArtSpace, Cambridge in October 2016.

A Murmuration

A project by Sarah Wood and Lucy Harris, 2015–16

Murmuration installation photo

A Murmuration installation, Brighton

A Murmuration installation, Aldeburgh

Murmuration (noun):
1. the act of murmuring, the utterance of low continuous voicing of dissent
2. a flock

What can we learn from a murmuration of birds? How do we feel when we observe the pattern of birds in flight? And what has observation come to mean in a country where we are subject to more surveillance that at any other point in history?

This is the starting point for A Murmuration, a collaborative art project that responds to the Brighton Festival 2015 theme of migration by asking what freedom of movement and thought really means.

In collaboration with writers Helen Macdonald and Olivia Laing, A Murmuration combines film, text, image and cross-artform dialogue to rethink how we frame the natural world, how we understand patterns and just how free is the modern gaze.


A Murmuration was first installed at ONCA Gallery Brighton as part of the Brighton Festival (2015).
The exhibition migrated to Aldeburgh Poetry Festival in November 2016 and is on the move.

Pastoral Permits

Mixed media: hand tinted passports, found postcards, ink stamps, dowling shelving, dimensions variable

Pastoral Permits

Pastoral Permits explores how representations of idealised landscapes are used in fostering notions of national identity.

Although the unpopulated scenes on printed passports imply free access their function as ‘scenic backdrop’ to official visa stamps highlights the paradox of controlled access to vistas of freedom.

In the accompanying work the audience is invited to traverse borders by re-populating these fictional settings.


One Place After Another, Artspace, Cambridge 2016
Metageography Space Image Action, Pushkin House, London 2017


Mixed media: hand tinted postcard, backlit frame (on motion sensor), 19cm x 12cm


A lost postcard, perhaps discovered during renovations at the Bohemia Club, St. Leonards, offers a double-take on its history.

The postcard is framed and hung on the wall: an illuminated window gives indication of mystery activity within its interior.


Bohemia, St Leonards-on-Sea, 2015

Olympic negatives

Mixed media: printed, painted and collaged film stills, dimensions variable

Olympic negative

The Olympia Negatives appropriate film stills from Leni Riefenstahl’s Olympia. In the series the film space is fractured – the athletes and audience removed by dissection and over-painting. Only the buildings remain as witnesses.  Riefenstahl’s familiar classical images are reconstructed and disrupted with a ‘present’ fault line.


After Image, Lo & Behold, London, December 2012

Material Light

Screening, 2013

This programme considers the act of looking beyond the surface. Through a sensibility to flux, transition and movement, all of these films remind us that both our physical and cultural surroundings are not static. We exist in a changing landscape, rooted in layers of time, history and memory. Mirroring Edison’s drive to innovate and experiment, the filmmakers here explore film as a physical material.

Featuring work by Alia Syed, Bea Haut, David Leister, Emily Richardson, Lucy Harris, Jim Hobbs, Sophie Michael.

Curated by Lucy Harris.
March 2013
The Granary Building, London

The Black Maria installation by Richard Wentworth and Gruppe at the The Granary Building was modelled on the world’s first film production studio – Edison’s Black Maria studio built in 1892. Over a century of film later the Material Light 16mm film screening resonates with that history. For one night only the Black Maria structure was temporarily transformed into a cinema, a space that echoes the past in an architectural and aesthetic landscape that is in a continuous state of evolution.