Fairy Pump, 2008

Fairy Pump, 2009 is a piece from a larger installation, A Sleek Dry Yell, 2008, modified to operate individually.  Elements that are not normally combined are made to coexist; vintage furniture and electronic goods, water and electricity, piano sounds and electro pulses.  The objects in the work have been reconfigured to produce snippets of sound, which are layered to flirt with the idea of being music.

Haroon Mirza completed an MA in Fine Art from Chelsea College of Art & Design in 2007 and MA Design Critical Theory & Practice from Goldsmiths College in 2006.  Recent exhibitions include, Lisson Presents 3, Lisson Gallery, London and Contested Ground, 176, London. Forthcoming projects include a solo exhibition at the A-Foundation, Liverpool; The Sheffield Pavilion, Istanbul 2009; and a nomination for the 2010 Northern Art Prize. Mirza lives and works in Sheffield.

www.clickfolio.com/haroon/

Exocet's Curatorial Approach: Trade City

The work presented by exocet, for TradeCity, deals with re-evaluation and ­progression through modification. The transformation of an existing object, image or design alludes to dormant potential and presents a new set of possibilities. The work questions physical and conceptual boundaries, and in the context of TradeCity, comments on what can be achieved by operating inside, outside and in between them.

Haroon Mirza’s Fairy Pump 2009 is composed of a variety of objects that normally do not co exist, such as water and electricity, vintage furniture and electronic equipment. When combined the objects merge into an assemblage that defies categorisation and provides an audio pulse to the space. Fairy Pump 2009 is an adapted component from the larger installation A Sleek Dry Yell, 2008.

Screw You Billy You Fuck, 2009 ­­(after Fuck You Billy You Fuck, 2007) by Toby Huddlestone is also an adaptation of previous work. An IKEA Billy bookcase has been cut into sections to provide a series of alternative storage solutions within the space.

In a more refined approach to modification Ruth Claxton’s postcards, each carefully doctored, provide a series of strikingly beautiful compositions that sit upon the boundary between two and three dimensions.

Artist collaboration jack of none provide the physical manifestation of a boundary. Palisade is based on a 16th Century design for a defensive wall. This design has been manipulated to respond to the interior of the exhibition space and is composed of found material.
This selection of work highlights the different possible outcomes that can be found through experimenting with creative processes. The augmentation of objects and imagery offers a doorway into a world of hidden possibility and questions.