The motif of Skinner’s room recurs through William Gibson’s Bridge trilogy as a place of refuge. It is a shack knocked together from salvage, suspended high on the bridge tower, a place where things and images, old tech and new tech are recombined into makeshift forms. A space for assimilation, where stories are woven together and electricity applied. It is the birds-nest vantage point of a post-devaluation community. In Gibson’s world metaphor is ‘a component like a capacitor’. Here the thought-form fiction of Skinner’s Room is the imaginary location to collect the works manifest in this real life show:
A glitched lunar eclipse, a lacquered board, the crackling sound of code dysfunction, a star field of full stops, a speculative map of sound samples, wooden three letter words and a print, painted over, that could just be an image of Skinner’s Room.
We didn’t decide anything.
But somehow it happened.
From Five Years you can see the city…
Beth Harland recently completed a practice-based PhD, University of Southampton. Exhibitions include John Moores: Walker Art Gallery Liverpool, Gallery 33 Berlin, Whitechapel Gallery London, University of Stanislav, California, Dean Clough Halifax, Arnolfini Bristol, She is Director of the Graduate School at Winchester School of Art.
Louisa Minkin studied at the Ruskin, Oxford and the Royal College of Art. Recent exhibitions include APT London, Foxy Production, New York, LLS 387 Antwerp, the British Library, the Metropole Folkestone and the British School at Rome.
Claire Morales graduated with an MA in Digital Art in 2006. Since then her work has been screened at Artprojx Space London and venues including The Directors Lounge, Berlin and Roxy/NoD Prague.
Simon Wells is still looking.