Dislocations brings together Rachel Mortlock and Harry Grundy in a duo-exhibition where objects, tools, and structures are reworked to reveal layered histories and hidden narratives. The exhibition is grounded in an interest in how materials accumulate meaning over time. Objects do not simply carry their own histories, they are shaped by how they are used, where they are placed, and what is done to them. Through repetition, casting, reduction, mapping and transformation, new readings emerge and familiar materials take on unexpected meanings.
Harry Grundy’s work grows out of repeated acts of making, where traces of process remain visible in the finished object. Trained at Kingston School of Art (2016) as an artist, designer and clown, he often works with inherited materials and remnants of workshop life. In A Good Think (2026), tools and materials from maker Steve Wing form the basis for a reconstructed model of Stockport Viaduct and a wider body of work drawn from Wing’s archive. His Sandpaper works (2025–2026) extend this approach through machine processes and reclaimed materials, producing drawings shaped by friction, rhythm and repetition.
Rachel Mortlock’s practice considers how architecture and infrastructure hold memory. Working with cast elements, timber and fragments of built environments, she reconfigures familiar structures into something subtly unsettled. In Bölcske Towers, developed after a residency in rural Hungary, bird hides and watchtowers are reworked through industrial materials and local architectural references, bringing together observation, control and landscape. Across her work, materials are shifted and recombined, revealing how places quietly store and reshape lived experience over time.
