/1

Tucked away, deep in the cerebrum and safely surrounded by walls and tunnels of brain tissue, two amygdalae brood in the dark. The name of these clustered packs of neurons is derived from the Greek amygdale, meaning almond, and thus reveals their shape. These two little almonds play a pivotal role in psychic life — they are generally associated with the darker side of emotional life and take on a significant part in the production of anxiety, sadness, and aggression. Yet, they tend to produce happiness and the feeling of reward as well. Whimsical in their function, they give a hand in the construction of desire and help make decisions. They assist in the production of memory and emotional learning and flare in cases of PTSD. Political orientation is said to be shaped by one’s almonds, too. But most of all, they allow one to remember oneself. They make sure that one remembers that yesterday’s thoughts were actually theirs — that the I is an I, which makes a self.

An ergonomic chair, a desk turned over, a stack of papers, and an archive box are some of the figures that constitute Pearch’s unruly landscape of petrified workers, of labor, storage, and grind. They are the ruins from which things grow — old modernist symbols that form the humus for non-human growth. Cacti and mushrooms grow stubbornly, while lemons repose. They form the place where almonds are lost and then found anew — where one falls in and out of the containment and control of psychic life, where the scenography of psychopolitics becomes an archeological scene of abandonment and decay that nourishes a renewed, yet still wonky life. Where the I becomes another, born of Thames mud. Where empty containers float against a monochrome ocean blue — the shell that constitutes seafare and trade, empty and lost at sea, the containment of life itself, gone. Where in the midst of this entropic soup a pigeon looks at itself in the mirror, and a mouse plays dead. Where from an almond the I sprouts.

– Tom Engels

Installation view
2021
Energy Ball
Resin, fibreglass, grains, epoxy putty, oil paint, ply, PLA
60×60×60
2021
Installation view
2021
Grow bag
Jesmonite, epoxy putty, oil paint
35×25×20cm
2021
Thames mud and petite tumours
Resin, fiberglass, plaster polymer, oil paint
60×60×60
2021
15:11
Plaster, resin, oil paint
10×10×25cm
2021
Installation view
2021
Auditory Nerve Archive
Steel, enamel, polymerised gypsum, oil paint
42×32×26cm
2021
More Productive, and, Lost Carrier Pigeon
Polymerised gypsum, resin, oil paint, and, coloured pencil on paper
2021
More Productive (detail)
2021
Thames mud at dawn
Resin, fibreglass, polymerised gypsum, oil paint, ply
60×60x60
2021
Fruits
Resin, fiberglass, ply, jesmonite, graphite, oil paint
60×60×115cm
2021
Installation view
2021
Lost containers
Coloured pencil on paper
42×60cm (unframed)
2021
Lost Rat
Coloured pencil, paper
42×60cm (unframed)
2021
Lost Coolbox
Coloured pencil on paper
42×60cm (unframed)
2021
I
Resin, oil paint
2.5×8×2.5cm
2021
/1

For his first solo-presentation in Brussels, the British artist Hamish Pearch develops an in situ installation at front. Departing from the specifics of the space — being simultaneously a storefront, a diorama, and a container — Pearch amplifies and transforms these qualities into a sculptural proposition. Speculating on the hybrid co-existence of mankind, industry, and seafare, a poetic yet uncanny aggregation of containers and human faces covered in Thames mud “stares back” at passersby. Containers are recast as theatrical scaffolding, faces transfigure into commodity.

/3

I'm good because I feel good. I feel good because I am good. My mother loves me because I am good. But if my mother doesn’t love me I feel bad. I feel bad because she does not love me. I am bad because I am bad. I am bad because she does not love me. She does not love me because I am bad.

/1
Wasp
Mini-projector, looped video
2020
/1

They sit huddled by the water’s edge, a subdued gathering of orange, green, magenta, blue. As the rising light glances over their reinforced steel shells, stray shadows catch at the corrugated sides, fooled by the illusion of depth. Nothing penetrates. From the sky, they are military decorations stitched across a broad grey chest.


They are being held in a marginal place, awaiting allocation. This place has a different geometry to the rest of the coast. It is functional and deliberate, comprised of careful incisions cut into the land like the inner workings of a complex lock, and a thin jetty which runs alongside, rationalising the jagged coast into a single hinged line.


Marseille’s Fos Port is a circuit board, alive with discreet intention. By day, the arriving boats jostle like eager suitors as a line of sentinel cranes pivot and bow over the concrete, shuffling units like tarot cards. The air is filled with industrial noises and the smell of petrol and salt. Every movement is dictated from a distance.
By night, the mechanical dance continues. Sunshine is replaced by harsh fluorescence and torchlight. Security cameras twitch at fleeting movements as guards patrol the perimeter. Under the toxic buzz of tungsten lamps, goods are unloaded from lorries, held in stasis, then placed on a carousel and passed on to the waiting boats.


This place possesses a unique psychic energy. As a site of storage and transmission, every passing object, idea and face leaves an impression. They pool in the gutters and bloom out of the concrete, merging with the industrial landscape to form compound identities, so that the place itself, filled with so much fluctuating and fragmented matter, constitutes an altered state.

Despite the implied impregnability of steel and concrete, the site is revealed to be mostly water and therefore mutable. As a result, these impressions have a subjective quality to them. Vague images swim into focus: averted eyes, a cluster of cells, a forming wave. Ideas of what could be true, or might have been intended. Content, provenance and destination remain obscure.


Even the units themselves, each as defined and opaque as the back of a head, melt into a single, convergent mass as they are held together in this nowhere place. Their colourful stacks stretch into long, orgiastic ribbons of possible identity, pollinated by the atmosphere. Their resolute sides morph into fertile sites for projection and extrapolation as the irrepressible ocean swells beneath. - Claudia Paterson

Installation view
2021
Installation view
2021
Installation view
2020
Installation view
2021
Installation view
2020
No water is separate from any other water
MDF, polymerised gypsum, steel, paint, sand
180×1724mm
2020
No water is separate from any other water
MDF, polymerised gypsum, steel, paint, sand
180×1724mm
2020
Deep Blue Day
MDF, polymerised gypsum, steel, paint, sand
225×1724mm
2020
Deep Blue Day
MDF, polymerised gypsum, steel, paint, sand
225×1724mm
2020
All waters converge
MDF, polymerised gypsum, steel, paint, sand
350×800mm
2020
All waters converge
MDF, polymerised gypsum, steel, paint, sand
350×800mm
2020
Collective Memory Storage
2020
Collective Memory Storage
Plexiglass, dust
2020
Installation view
2020
Installation view
2020
Soup
MDF, polymerised gypsum, paint, grit
2020
Globe Trotter
Polymerised gypsum, resin, oil paint
483×583mm
Foraged I&II
Steel, epoxy putty, oil paint
Dimensions variable
2020
Foraged I
Steel, epoxy putty, oil paint
Dimensions variable
2020
Foraged II
Steel, epoxy putty, oil paint
Dimensions variable
2020
TE/POD/D
Soundpiece made in collaboration with William Rees
20:46:00
2020
/2
Modern Ruin in Bloom
Collective Memory Storage
/1
Lot
Archival box, plaster, epoxy putty, oil paint
2020
Digressions
Resin, plaster polymer, epoxy putty, oil paint
2020
/8

This is a show about the edge of a night city. How things get built, how things get sold. All things have their time, peaks of activity and then the long wait for their own sad slump. The landscape turns to real estate, speculative development turns viral and things need to be put places. A mass of objects will come back to us. Stargazing is interrupted by a security torch, moonlight can’t compete. The guard dogs on the loose and it can smell your stinking fear.
In this room there is a family trip, someone dreaming of a petrol station, thinking architecture, blank newspapers, empty containers, obsolete carousels forever looping, exponential growth, dying daisies, security-guard torches, pyrotechnics on the edge of an island, moonlight blue, everywhere and everything, nowhere and nothing.
The container is an architectural site of things and thoughts, real and imagined objects. Most of these things are asleep; stuck in a still-life. Stuck on an island. Aside from the river of concrete that’s rolled over by people on their way to different places, this place is surrounded by an ocean of mud. From whichever direction look, it's all you can see.

North – ocean of mud
North by east – ocean of mud
North east by north – ocean of mud
North east by east – ocean of mud
East by north – ocean of mud
East – ocean of mud
East by south – ocean of mud
South east by east – ocean of mud
South east by south – ocean of mud
South by east – ocean of mud
South – ocean of mud
South by west – ocean of mud
South west by south – ocean of mud
South west by west – ocean of mud
West by south – ocean of mud
West – ocean of mud
West by north – ocean of mud
North west by west – ocean of mud
Northwest by north – ocean of mud

Installation view
2019
Installation view
2019
Installation view
2019
Burnt Corn Burgundydrop Bonnet
Resin, epoxy putty, oil paint
340×80mm
2019
Some Things Last A Long Time (Lot 9)
Wood, steel, newspaper, epoxy putty, wire, oil paint, emulsion, cardboard, castor wheels, tumbleweed, projector, 50 colour slides
2450×240mm
2019
Some Things Last A Long Time (Lot 9)
Wood, steel, newspaper, epoxy putty, wire, oil paint, emulsion, cardboard, castor wheels, tumbleweed, projector, 50 colour slides
2450×240mm
2019
Some Things Last A Long Time (Lot 9)
Wood, steel, newspaper, epoxy putty, wire, oil paint, emulsion, cardboard, castor wheels, tumbleweed, projector, 50 colour slides
2450×240mm
2019
Installation view
2019
Family Trip
Newspaper, epoxy putty, oil paint
500×185mm
2019
Have you got a room with a better view? (Lot 34)
Wood, steel, epoxy putty, oil paint, emulsion, cardboard, plaster polymer, sand
800×1045mm
2019
Have you got a room with a better view? (Lot 34)
Wood, steel, epoxy putty, oil paint, emulsion, cardboard, plaster polymer, sand
800×1045mm
2019
Burnt Toast Dying Daisies
Resin, epoxy putty, oil paint
1000×30mm
2019
We are currently experiencing a high volume of calls (Lot 20)
Plaster polymer, foamcore, sand, epoxy putty, paint, cardboard
400×1950mm
2019
We are currently experiencing a high volume of calls (Lot 20)
Plaster polymer, foamcore, sand, epoxy putty, paint, cardboard
400×1950mm
2019
We are currently experiencing a high volume of calls (Lot 20)
Plaster polymer, foamcore, sand, epoxy putty, paint, cardboard
400×1950mm
2019
/2
Big Yellow
Wood and paint
2019
Storage Wars
Plaster polymer, sand, paint
2019
48" Father and Son, &, 10,000 Days of Realty
Plaster polymer, sand, paint & plaster polymer, sand, paint, wood
2019
Burnt Toast Lilac Dapperling
Resin, epoxy putty, oil paint
2019
Installation view
2019
Burnt Toast Cystolepiota Seminuda
Resin, epoxy putty, oil paint
2019
Installation view
2019
Hip Bones Brick Tuft
Plaster polymer, epoxy putty, oil paint
2019
Installation view
2019