What's Left

Neville Gabie, Jeremy Wafer, Wood and Harrison

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Neville Gabie
Experiments in Black and White XXX part 2
2020, video, 5’47”

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John Wood and Paul Harrison
6 Orange Chairs
2018, 6 chairs, oil paint

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John Wood and Paul Harrison
Bench for Looking Up
2015, wooden bench, brass plaque

Recent work by Neville Gabie, Jeremy Wafer, John Wood and Paul Harrison curated by Tessa Jackson OBE.

We know this site as a former shop and warehouse, selling all manner of items and materials for building projects as well as the home; we were also aware that it had previously been a soap factory. We decided to make and select work in response to the history and character of the space and the architecture of the building. As artists, our workoften connects to traditions of labour and manufacture, the history of trade and sometimesthe absurdity of ordinary objects. In exploring the site we wanted to express something ofthe place that many people know, along with the characteristics of abandonment, change, accidental juxtapositions and incongruous remnants.

Neville Gabie draws upon his long-term interest in repetitive labour, durational working and material processes – activities which render the worker simultaneously visible and invisible. His work uses simple everyday materials characteristic of DIY stock formerly housed in this building.


Jeremy Wafer, through isometric drawings and his Lines of Longitude (Soap), alludes to a deeper history and economy of Bristol with that of global trade, connecting to South Africa where he lives. The position of the soap has been determined through the use of GPS. Due to the current conditions, we are grateful to Tobias Gabie for realising his drawings.


Wood and Harrison are interested in how we interact with our immediate surroundings and objects we are familiar with. These objects may have something wrong with them, they may be a bit broken or be just not quite right. In fact, they could well be objects left over when everything else is taken away, sold and are the things that no one wanted.

We are grateful for the support received from:

The Mellon Foundation funded Art Research Africa programme of the University of the Witwatersrand, Johannesburg



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