OF BRISTOL
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