BIRO LOFTS

BI FOR LOST

BI FLOOR ST

BIT FLOORS

BITS FLOOR

BRISTOL OF

BORIS LOFT

BOIL FORTS

BOIL FROST

BOILS FORT

BOLTS FOR I

BOLT OF SIR

BOLT FOR IS

BLOTS FOR I

BLOT OF SIR

BOO FLIRTS

BOOR FLITS

BOOR LIFTS

BOORS FLIT

BOORS LIFT

BOOS FLIRT

BORT FOILS

BRIO LOFTS

BRIT FOOLS

BRITS FOOL

BROIL SOFT

BROILS OFT

FLIT OR SOB

FORTS LOBI

FROST LOBI

FOOL RIB ST

FOR IT SLOB

FOR ITS LOB

I LOFT ORBS

I LOFT ROBS 

I LOFTS ORB

I LOFTS ROB

IF LB ROOST

IF LB ROOTS

IF LB TORSO

IF LBS ROOT

IF LOB ROTS

IF LOBS ROT

IF LOST ORB

IF LOST ROB

IF LOT ORBS

IF LOT ROBS

IF LOTS ORB

IF LOTS ROB

IF ORB SLOT

IF ROB SLOT

IF ROT SLOB

I LB OF ROTS

I LB OF SORT

I LB OR SOFT

I LB ROOF ST

I LBS OF TOR

I SORT FLOB

LB ROOF SIT

LBS OF RIOT

LBS OF TRIO

LB OF TRIOS

LIST OF ORB

LIST OF ROB

LOT OF RIBS

LOTS OF RIB

OF BRISTOL

OF LB TROIS

OF ORB SILT

OF ORB SLIT

OF RIB SLOT

OF STROBIL

OF BRISTOL invites the viewer to consider language, place and place-making. There are many alternative readings of a site, readings which are governed by why we come to a place, what place means to us as well as what we bring to a place and what we take from it. The 70 anagrams that stem from the 9 letters OF BRISTOL, rename, reframe, suggest and invite alternative readings of a site, of a city and its history. 

​

I live in a converted part of the fomer Soapworks in the shadow of Gardiner Haskins. Each time I step from my flat I see OF BRISTOL, part of the Gardiner Haskins’ sign.  This sign grounds me; it forms a locus, Gardiner’s was my department store, my local. Here I bought wine, tools, stationery, hardware, kitchen ware and domestic applicances.  

For an artist working site-specifically, it is rare to be afforded the chance to work on a project so close to home.  I am reminded of the rich manufacturing history of this area, where skills, industry, labour, and hierarchies within work - markers of social class were played out. 

Through my practice I seek opportunities to engage with others, especially those who have skills in industries that are under threat.  The project afforded me the opportnity to work with The Letter Press Collective at Centre Space, Bristol. We collaborated to produce the anagrams using an original Sans Gill wooden type.  The large OF BRISTOL’s letters were CNC cut from a digital file at AMALGAM studios, also local.

Further connections to site come from the history of this typeface. The type OF BRISTOL is Sans Gill, designed by Eric Gill. It was first used when hand painted by Eric himself for his friend’s publishing business in Park Street, Bristol in 1926. 

Further connections to site come from the history of this typeface. The type OF BRISTOL is Sans Gill, designed by Eric Gill. It was first used when hand painted by Eric himself for his friend’s publishing business in Park Street, Bristol in 1926.  

​

This landmark building has a long history and many relied upon it for their livelihood. From here goods went out into the world. 

In a pause in its history we can consider 

its past, present and future.

What is it that brings you here?

What do you take with you?

What ties bind you to place? 

As a collective we consider the future of the arts within the city. 

What possibilities lie in coming together?

Photos by Benjamin Jones