Unboxing the travelling show from (Arts) Territory Exchange is currently at Shelf!

‘The Arts Territory Exchange presents un-boxing a travelling exhibition in a box; Moving across continents to be opened and displayed in a number of intriguing domestic and alternative locations. Posted across a network of curators, artists and archivists.

The exhibition takes its name from the pleasures and excitements of receiving postal mail and packages; opening, tearing, ripping and rifling through contents and the Youtube ASMR world of opening and unwrapping through which many people receive sensory comfort.

Through Un-Boxing we play with the ideas of gifting….receiving….waiting and excitement…each recipient will curate a mini show from the material they receive and then add something to the box before posting it on. The audiences for the work may be families, children, pets, or neighbours peering through windows…’

Will next move on to Plas Bodfa – Anglesey Wales

The home of curator Natalie Pace, Felixstowe Suffolk 

The home of artist Caroline Kelley, Versailles, France 

Saint Croix de Mareuil, France with curator Jane Linden.

Copenhagen, Denmark with art writer Laura Davidson

2nd Stage.

The second Stage will take a more experimental form and will develop its own network of hosts (each host will be invited to select another curator/artist,archivist) to post the box on to. This will happen around a series of anchor locations which are as follows.

The Maryland Institute College of Art (MICA)

The home of Artist Lenka Clayton, Pittsburgh USA

Street Road Art Space Pensylvania.

The Tree Museum Pender Island

The town of Ucluelet, Vancouver Island in the home of Carly Butler and the homes of local residents. (End point).

Participating artists:

Marina Amaral

Hana Wilde

Laura Copsey

Martin Dixon

Sydney lancaster

Vicki Piersig

Michelle Kohler 

Diane Eagles

Kim Goldsmith

Reb Green and her students at MICA

Georgina Reskala

Lizzy Sampson

Sarah le Quang Sang

Roelnant Meijer

Sarah Scaife

Alisa oleva

Imi Maufe

Hannah Stageman

Annette Friedrich Johanson

Carly Butler

Emily Van Lidth de Jeude

Caro Williams

Andrew Howe

Romina Cristi

Elisabeth Elegeert 

Leonie Andrews

Sarah Basha

Jessica Longmore

Laurel Terleski

Showing on the shelf: TENDERNESS IN A BOTTLE Sharing the harvest By Didi Hock. Feb 25th – March 3rd. 2020.

bottle hochkant2

Hock says; This offering for my human and other-than-human companions is understood to be the continuation (or completion?) of Sharing Vulnerability? Isn’t that what it’s all about? Two years after its publication, I turn one of the key words of this book into a work of sensual herbalism: TENDERNESS.

In my experience, inhabiting a chronically ill and disabled mind-body has meant pain & isolation as much as connection & belonging. In the depths of the timespace of chronicity, my human but especially my interspecies relationships have gone through deep transformations. During 2019 I had the pleasure to be apprentice to Angelica, Heather, Rose, and Sweetgrass – four vegetal companions who taught me some of the most important lessons on practicing tenderness. Now it’s time to share the harvest.

I use roots, leaves and flowers as a means of communication, I celebrate the now quite unpopular practice of floriology in the form of a message in enchanted jars.

To share is a deeply revolutionary act, that gives meaning to «tenderness is the pending revolution.»

TENDERNESS IN A BOTTLE is a synergistic composition of Angelica archangelica (from the Elbe shore), Calluna vulgaris (from the Heath just outside Hamburg), Rosa rubiginosa (from Baltic Sea beaches), and Hierochloe odorata (from the plant I invited to grow in my garden).

One bottle of tenderness has been explicitly created for ‘Shelf’. It is meant to be touched, turned around, opened, smelled, experienced. Let the enchantment be the guide of your senses while you connect to its tenderness.

Before you leave, take some tenderness with you in the form of your favourite “Tenderness magic card”.

Didi Hock // Hamburg, November 2019

About the artist. Didi Hock is a name the artist gave herself as a child, she saw this as one of her first acts of resistance. As an adult she chose to practice as an artist using this name. Didi defines her world as queer, in the tertiary sense of the English dictionary, Queer as in odd, sick, unwell. Her world is queer as, although she lives alongside others in the same world, her life has been articulated by a series of series of debilitating health diagnosis as well as backgrounded by trauma. Her pain is chronic meaining that to live for her, means embracing disfunctionality. she sees the identity impressed upon her of ‘sick women’ as one which is more about a continually evolving process than a static identity. Her world is one which embodies experience of fear, anger, despair, compassion and cusiosity.

‘Mycelium Grove’ Bec Bromley Humphries.

‘Mycelium Grove’ Bec Bromley Humphries. 25th Jan 2018 – 8th Feb.


Bec Bromley Humphries is an artist with a background in sociology and psychology and her work is informed by the complexity of life and capacity for subtle slow social change. She makes intricate and involved sculptures and installations, working with paper and fabric – often working with themes of loss and nostalgia, her materials have ranged from collections of book dedications (To my Dear, 1944- 1963), remains of old book spines (Hollywood Amnesia) and sewn paper.

For the Shelf she has created a site specific textile work ‘Mycelium Grove’, an abstracted landscape inspired by plants and fungi, made of soft fabric sculpture coated in a porcelain slip. The title references ‘Mycelium’  the enormous underground fungal network – a bacterial colony consisting of branching threads, which can spread for large distances under the earth. Humphries relates the Mycelium spores to Jungian concepts of the concious and unconcious mind.

She says ‘ In our daily lives we can forget how sensitive and responsive we are – if we are healthy we take experiences and integrate them into a meaningful whole. We grow – like plants, and adapt to change, constantly adjusting, forgiving, letting go or holding on. This work explores the seen and imagines the space unseen’.   



‘Mycelium Grove’




29th January – 5th February 2018

Lizzy Sampson


‘While reading about how to tell the age of a stone, I discovered that the language used to date a rock resonated with my new ‘mother’ status. Terms like ‘daughter product, nuclei don’t get tired, the staircase of time, half life and 100% pure parent’ seem to be directly referring to the business of raising my child.

‘Half life’ is a bit like the will to continue an arts practice using two 45 minute ‘nap’ blocks each day. ‘Nuclei don’t get tired’ seems to be taunting me and reminding me of my human weakness as I succumb to fatigue by 6pm each day, and remove previously deposited material, well, if that isn’t directly referring to the constant deposits of excrement I deal with several times a day …!

This version of Stone Age has been made specifically for The Shelf Gallery. Using the distance between the creation of the work and the destination, small sculptures and assemblages have been shipped across the world on miniature balsa wood pallets – playing with the weight of the work against the heaviness of stones.

A photo taken of the sunrise (a time of day I’ve recently had to embrace) matched with 2 stones of the same colour, a small pile of orange pips extracted from my daughters fruit and an improvised toy imitating a rock, showing a sunbather relaxing on a pebbly beach rest on the palettes amongst real stones and painted images of rocks in watercolour.

Guessing the age of a stone parallels the constant monitoring of the growth of my daughter against age – her weight and height measured precisely to ensure she (and I) are reaching the desired milestones in life’.  – Lizzy Sampson.

*STONE AGE was made during Lizzy Sampson’s ‘Artist Residency in Motherhood’. As part of her ARIM she loosely set up the structure of a 45 minute PhD – a strategy to learn as much as she can about a particular topic using the duration of her daughters naps.


Lizzy Sampson

Images from ‘STONE AGE’ – Miniature Balsa wood palattes, photographs, found stones, orange pips, watercolour paintings, sticks, egg shell, fabric, feather.


Showing work by Sarah Van Sloten  until the 26th September. Sarah’s work is a delightfully irreverent and whimsical combination of painting, sculpture and installation work combining ‘everyday’ objects such as pieces of pasta, pipe cleaners plasticine and more traditional forms of painting, collage and illustration.

The work evokes a nostalgia with an ironic twist, her use of materials is clever; plasticine balls with smily faces haloed by pipe cleaners display a knowing whit rather than a childishness. Her work speaks of social context, spaces of communiqué slipping between the domestic and the ‘professional’  – the work exists somewhere on the edge of Bourriaud’s conception of Relational aesthetics but says more of social situations and frenzied activity now past, re-configured as carefully controlled installations – testaments to other moments, contexts and gestures.



Currently showing a new series of works by South American artist Fiorella Cordella. Cordella’s work explores the complex relationship between the human figure and the landscape. In this series she photographs her son in various settings in Chile, from the domestic, the remote to the municiple, the small figure is sometimes the subject but more often hidden or obscured. See more of Cordella’s work here.



‘P in the landscape’ A series of photographs by Fiorella Cordella.

Work by Mindy Sue Wittock 29th July – 12th August.
Mindy Sue grew up on the border of Northern Wisconsin and Upper Michigan.
She received her BA from the University of Wisconsin Green Bay and her MFA from Arizona State University with a concentration in fibers and textiles.
Mindy Sue has previously worked as an associate lecturer of art and a gallery director at the University of Wisconsin Fond du Lac. She has an extensive exhibition record and history as a textile based arts educator. She Currently works in her home studio in Cedarburg, Wisconsin where she makes soft sculptures and hand sitched wall pieces.
‘Imaginary Friends: Kitchen‘ is a series of small works made from domestic textiles and kitchen utensils. The pieces were catalysed by a frustration at never seeming to escape from the domestic chores of the kitchen and the tensions between feeling lonely and never being alone as a stay at home mother. You are invited to touch, hold and interact with the sculptures in this exhibition.
imaginaryfriends 8imaginaryfriends2

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Work By artist Robert Good on the shelf 17th -27th July.

Robert Good is an artist who works with language and text with the themes of collecting, cataloging and organising implicit to the work. Precise (yet idiosyncratic) systems of sequencing are often tempered by traces of a physicality- implied acts of cutting, snipping, shredding and erasing – which gently point towards compulsive tendencies. His breaking down, deconstructing and re-assembling is reminiscent of a child’s efforts to ‘understand’ but in embracing a kind of un-knowing, Robert creates fantastical new systems with their own private logic, lending his work the unique affect of being both re-assuring and troubling at the same time and making wider comment about knowledge acquirement and its delivery.


Problems of Philosophy (2016, ongoing project) Philosophy books, receipt spikes.

In this work (above) antiquarian philosophy books by Rousseau, John Stewart Mill, Bart, Locke and Descartes have been deconstructed and impaled page by page onto receipt spikes – the work speaks of a processing and consumption of knowledge and implies either an act of reading akin to the materialist consumption documented through the collecting of receipts or a violent act which suggests a frustration with this hallowed philosophical canon. Either way, separated from their protective bindings the pages lie limp and languorous. Robert says, ‘Are the texts important, possibly profound? I don’t know, I cannot understand them.‘ Robert has adapted the work for the Shelf Gallery with the inclusion of colourful protective foam beads on the end of each spike – making reference to our young inquisitive household.


Library (2017) Collected books. (below).

Robert says, ‘Library attempts to compile an authoritative set of reference works: an antidote, perhaps, to contemporary anxiety about fake news and post-truth relativism’. The collection is at first, a curiosity that seeks to re-assure, offering a concrete reference archive to balance the fast moving online world of Fake news but on closer inspection, the books themselves reveal doctrines and assumptions of certainty which are profoundly unsettling. ‘The Truth About Gay Marriage’ turns out to be a religious conservative rant full of vitriol and ‘The Truth about Immigration’ is similarly right wing. ‘library’ raises unsettling ideas on the subjectivity of truth but the collection is also in part very humorous, with titles such as ‘The Truth about Chuck Norris’ and ‘The Truth About Cottages’ not failing to raise a smile. If only revelations about the veracity of cottages and martial arts experts were all we needed to worry about…


Work by Carly Butler sent to Gudrun Filipska. Collaboration in progress as part of the Arts Territory Exchange. On untill Friday the 30th June.









Works by carly Butler include; Letterpress print ‘Save Our Souls’ 2017. Letterpress print ‘The fall and winter months are dreary beyond expression’  a quote from Father Augustin Brabant, Vancouver Island missionary 1874. 2017. Digital photograph. sand pile. Crab claw, driftwood, stones, seaweed and small bottles of seawater from various locations around Sooke and Tofino, British Columbia.