Page 1

Digital copies of this

Similarly, when we use

Looking at art and design

and curation: Hannah Ford.

catalogue available at

computers, do we remember the

through the lens of STEM

Images: copyright of the


numbers behind the plastic

reveals the invisible numbers

artists, unless noted

and glass? The 1s and 0s, the

we take for granted, in

otherwise. Text: copyright

algorithms? The technology

geometry, engineering and in

of the authors, unless

has come a long way: as

the physics at work in our

noted otherwise. Design:

Kirstin Sibley found out in

creations. Eve Mulholland’s


her research for the Pilot

jewellery uses geometry and

Proofreader: Amber Cowan.

ACE exhibit, illustrated by

references to architecture.


Exhibition coordination

Acknowledgements from the exhibitors


Print: Newspaper Club.

Andrew Baker, early computer

In her Coleoptera collection,

programming used punch cards,

she celebrates the covariation

taken from the mechanisation

of shape in the beetle.

for making jacquard fabric. There is also a covariation I began to think about how

of ideas between Haberdashery

“invisible numbers” became

& Julian Abrams’ piece,

the red thread in this

Holographic Principles 1,

exhibition, and about how

and Face Invader’s Matronix,

each artist’s work makes the

which places an infinity

A heartfelt thanks goes

Denise Ford: Thanks to

Invisible Numbers, the name

connection. I am a design

mirror inside a mask. Both

to Laura Kerry and Morag

Matthew Krishanu, artist,

of our group exhibition,

historian by training, rather

play on the principles

McGuire at Artillery for

teacher and mentor; the

immediately resonated with

than a mathematician, and

of light to create an

creating a spiritual home

Camden Arts Centre; Southwold

me. It came from a discussion

to me the concept brings


for artists and creatives

Museum. Peter, Jason,

with mask-maker Rebecca

up many meanings, socially,

with their commitment to

Mehala, Arali, Ben, Hannah,

Ward, the artist behind Face

culturally, historically and

The key to the paradigm

hosting the biennial E17 Art

Alfie, Kit and Joe.

Invader, about how we would


of invisible numbers is

Trail since 2005; to Joana

identity. Inside The Visible,

tackle this year’s E17 Art In a recent Tate Exchange

a publication based on an

event, Who Are We?, the

exhibition of the same

STEAM is an international

conversations focused on

name at the Whitechapel Art

research; Jo Parker for

movement, spearheaded by

identity, migration, global

Gallery in 1996, celebrated

Victoria Kearney at The Stow

discovering Ted; Melanie

academics, that aims to

displacement and citizenship,

the work of “previously

Brothers; to Kenny at Pub on

at Getty Images, Mark at

keep the arts as a core

particularly coloured by

invisible figures” in the art

the Park; to Demi Demetriou

Alpha and Sarah at NPL

part of the curriculum.

Brexit. Migrants and refugees

world, mostly women. Denise

at Forest Venues; and to our

for generously agreeing to

There has been much talk of

lose their visibility, along

Ford, a painter whose work

families and friends who

let us reproduce archive

the importance of science,

with their rights. They are

expresses a new realism,

have been supportive of our

images; and Linda Hughes for

technology, engineering and

no longer a name, just a

focuses on the unknown story

endeavours to create new

genealogical research.

mathematics (STEM subjects),

number, an invisible number.

of a 19th-century master rope

but they cannot exist without

And, in turn, this country

spinner. What comes to light

the arts.

has become a divided nation.

is how these rope-spinners

The 48% to the 52%, something

supported a multifaceted

Niemeyer at Studio April for

Andrew Baker & Kirstin

her graphic design; to Amber

Sibley: Oliver Duke-Williams

Cowan for her dedication

for his invaluable technical

in proofing our words; to

work for Invisible Numbers. Rebecca Ward: Ross and Max

Trail theme, STEAM.

Hannah Ford: SOS Walthamstow

Booker, Hannah Ford and

for fabric donations,

the I.N. Tribe, Evelyn

Invisible Numbers is, to me,

I have explored in my

local and national economy,

especially Esther Firman,

Mulholland, Ben Rigby,

a dilemma, a dichotomy and an

fibre art.

through fishing, spinning and

Jennie Caminada, Shani

Talbot Designs, Ali and

oxymoron. The Oxford English

Beadle and Francesca Cesca.

Bill, Mo Gallacio, The Mill,

Dictionary defines invisible

Peter, Denise, Jason,

Adrian Irwin, Amber Cowan,

as, “the state of an object

I hope you enjoy discovering

Mehala, Arali, Gill, Bob,

Kenny Connor. And Rupaul’s

that cannot be seen”, while

the invisible numbers in this

Ben, Alfie, Kit and Joe. For

Drag Race for keeping me

numbers “indicate a position

show’s incredible work as

Bex and my I.N. tribe. My

going on long nights in my

in a series”. How can we

much as I have.

running buddies, Simone and

studio. Extra special thanks

place something in order when

Charlotte. To Haberdashery

to Henrik Pilerud.

it is invisible?

and Julian Abrams. And to my mentor Ed Hall.

Eve Mulholland: Thanks to everyone at Wall & Jones, especially Ali Wall. To Amber Cowan for her insight and help, and the Invisible Numbers crew.

hemp growing.

Hannah Ford, June 2017

based artist Rebecca Ward has been creating theatrical disguises for six years. Her obsession with the power of

Fa c e Invader

clothes began as a child. She won a place to study Fashion at Middlesex University in 1990. However, she was unable to attend the first

© David Lanre Ajisafe

w w w. fa c e - i n va d e r . c o . u k

As Face Invader, Walthamstow-

three months of her course due to a student protest, and left after failing by

In response to E17 Art

just one point.

Trail’s theme, STEAM, Rebecca has created Matronix (Future

Pagan Goddess of Illusion and Infinity), a piece that mashes

M u l t i m e d ia artist and mask maker

together her three favourite artists: MC Escher, HR Giger and Daft Punk. Rebecca has been fascinated by MC Escher ever since she saw his perception-bending work as a child. HR Giger is the Rebecca turned to music,

Swiss surrealist who created

bought some turntables

the Xenomorph, the creature

and vinyl, and began a

from the film Alien. And Daft

successful career as a DJ.

Punk have become disco-pop

Under the name TBX, she now

superstars while maintaining

makes people dance every

their anonymity, something

weekend and has played

that resonates deeply with

venues like Wembley Stadium.

Face Invader.

She rediscovered her love of theatrical disguise when she began making masks, wigs, hats and headdresses for her performances. Friends and strangers began commissioning pieces and Face Invader was born.

Celebrating the 20th anniversary of Daft Punk’s © David Lanre Ajisafe

album Homework, Matronix combines Rebecca’s two passions, masks and music, in one immersive multimedia experience.

w w w. o d e t t e j e w e l l e ry. co m

Odette Jwellery

Temples and Comets, © Odette Jewellery

For her own brand, Odette Jewellery, Evelyn draws on influences from classical art and mythology. Using fine jewellery techniques and rich colours, her creations are wearable objects d’art, full of meaning and movement. For Invisible Numbers, Evelyn has created work that takes natural elements and relates them back to science and engineering. An interest in biomimicry has shaped her ideas, as has nature’s

Jewellery maker

own form of engineering: evolution.

Temples and Comets, © Odette Jewellery

Evelyn was born in New Zealand and emigrated to Western Australia in her teens. She first sat at a jeweller’s bench when she was eight and gravitated towards the profession, studying Jewellery Design and Construction at university. She moved to London in 1999 Jewellery is a form of

and worked in Hatton Garden

engineering for Walthamstow-

for 15 years, while also

based designer Evelyn Odette

making costume jewellery for

Mulholland. Her bracelets,

designers in Knightsbridge.

necklaces, rings and earrings are constructed from precision-tooled pieces, hung together with intricate mechanisms. Often sculptural or architectural, they reflect a fascination with industry and nature, the classical and the kinetic.

Denise Ford specialised in Textile Design at Central St Martins before an consultant, forecasting colour and fabric development for clients in the UK and abroad. Today, Denise focuses on painting and printmaking. Her


open compositions, in still life or landscape, are organic and representational. Using


extensive career as a textile

both her own photography and found images, she creates a pictorial realism as she

P ai n t e r and printmaker

explores everyday subjects.

The paintings in 800 YARDS:

Rope Spinners of Southwold

Hatchelling: Combing the Fibres, 2017 © Denise Ford

were created specifically for

Invisible Numbers. Denise was inspired by a 19th-century photograph of her greatgrandfather William Button, known as the “last master rope spinner” of Southwold. Research led her to discover the importance of ropemaking to the Suffolk fishing industry before the Industrial Revolution. She also uncovered the significance of “the rope walk”, in which the rope

The different stages involved

maker had to walk backwards

in producing a rope without

from a spinning wheel.

machinery focused Denise’s attention on the calculations and craftsmanship needed. In tribute to her greatgrandfather, she has produced five figurative compositions, focusing on character, activity and gesture.

Hand Rope Spinning; Walking Backwards, 2017 © Denise Ford

To communicate light

based light art and design

through coherent geometry

studio, and photographer

requires a complex series

Julian Abrams have joined

of calculations; the hidden

forces to produce Freq, a series of sculptures that play with light, complemented

Ha b e r d a s h e r y / J u l ia n Abrams

by a limited series of photographic prints capturing the complex patterns of these sculptures.

w w w. h a b e r da s h e ry. co m w w w . j u l ia n a b r a m s . c o . u k www.freq-sho w.co.uk www.serenamorton.com

Haberdashery, the Hackney-

numbers behind the sculptural language being an unspoken part of its visual impact. The Holographic Principle edition was originally inspired by physicist Leonard Susskind’s interpretation of string theory and quantum gravity to explain the depth and volume of space. These abstract theories push the limits of the human

Li g h t a r t and design studio / p h o t o g r ap h e r

imagination, where numbers Haberdashery is a rapidly

and dimensions are contorted

expanding team of artist-

beyond the limits of our

designers and engineers


dedicated to making creative visions into tangible

The collection is represented

objects. They work with

by the Serena Morton Gallery,

a broad range of clients


from leading architects to local councils, government organisations to creative institutions and galleries. Julian qualified from West Surrey College of Arts and Design with a BA (Hons) in Photography in 1994, and has worked as a photographer ever since, specialising in music, fashion and advertising. He started shooting nocturnal landscapes for his personal portfolio, using light as both his tool and subject matter.

Julian’s collaborative work with Haberdashery dips into a kaleidoscopic world. Highly reflective stainless steel rods, ball bearings and controllable LED lighting are manipulated by simple geometry – isolating light and eliminating everything else, so that the viewer can explore time and space on their own terms. Holographic Light Principle 1, 2013 © Haberdashery/Julian Abrams


Ha n n a h Ford

It’s That Man Again, 2017, © Hannah Ford

A Divided Nation, a series of banners, uses appliqué, embroidery and cross-stitch to replicate style elements of sideshow banners, and places today’s mainstream political game-players in a similar “gallery of weirdos”. While most of us can no For Invisible Numbers,

longer comprehend the figures

Hannah has created a series

who operate on the front

of banners, borrowing style

benches and front pages,

elements and language from

inculcating us with their

American circus sideshow

toxic ideas and repulsive

banners of the 1940s and

soundbites, Hannah invites

1950s. Sideshow

us to view them as “nature’s


attracted visitors by using bright colours, painted and wild promises about


Fi b r e

images of floating bodies “weirdos” and “nature’s strangest mistakes”. From behind a curtain, visitors were encouraged to leer at “freaks”, people with birth or genetic defects who were considered unacceptable by mainstream society at the time.

Hannah Ford studied BA Art & Design History at Camberwell College of Arts, and MA History of Design at the Royal College of Art. Her interest in fibre art began at a young age when she was introduced to a Victorian Treadle Singer sewing machine by her grandmother. This opened up a world of possibilities of image-making with fibre and fabric.

It’s That Man Again, 2017, © Hannah Ford

‘Invisible Numbers’, 2017, © Hannah Ford

strangest mistakes”.

years before Photoshop, Andrew taught himself how to program on a Lynx computer in order to create animated images on a TV screen. As an Illustration student,

A n d r e w Ba k e r / Ki r s t i n Si b l e y

he continued to produce pictures digitally, using the first Apple Macintosh computers, a process that was then considered deeply unfashionable and inauthentic. Times have


Growing up in the 1980s,

changed. Andrew went on to become one of the UK’s first professional digital illustrators, and digital art production is now an integral part of the creative

I l l u s t r ato r / h i s t o r ia n

industries. Newman was key in making Alan Turing’s groundbreaking ACE computer a reality. Built in 1950, it was the most compact computing machine of its time, with the emphasis on coding rather than bulky Kirstin, a historian,

hardware. Newman was there

discovered the long-forgotten

right at the start of the

story of Ted Newman and his

digital revolution, but

connection to Walthamstow

would he have believed that

thanks to Jo Parker at

in the future everyone would

Waltham Forest Archives.

own their own tiny, powerful

Keen to illuminate his

computer? An enthusiastic

achievements and to reclaim

innovator, he would no

his place in the history of

doubt have embraced the new

computing, Kirstin found the

technology wholeheartedly.

perfect partner in Andrew, with his skill in explaining complex concepts in a dynamic graphic format. The research process was a labour of love, involving trawling through vintage computing journals, archive photos and academic tomes. For Kirstin, it was a journey in which she rediscovered her inner geek.

Ted Newman and the Pilot ACE computer, Illustration: Andrew Baker; Photo Š Central Press/Hulton Archive/Getty Images.

Invisible Numbers An Exhibition This catalogue is published June 2017 to accompany the Invisible Numbers exhibition at Winns Gallery, London E17, 9-19 June.

A n d r e w Ba k e r / Ki r s t i n Si b l e y Denise Ford Fa c e I n v a d e r Ha b e r d a s h e r y / J u l ia n A b r a m s Ha n n a h F o r d Odette Jewellery

Op e n i n g t i m e s Friday 9 June - Saturday 17 June, 10am-6pm; Sunday 18 June, 10am-4pm

Ta l k s Saturday 10 June, 2-4pm › 2pm: Behind the Mask / Face Invader (Rebecca Ward) › 2.30pm: 800 Yards: The Art of Rope Spinning – Denise Ford › 3pm: Coding Early Computers – Dr. Oliver Duke-Williams, UCL › 3.30pm: Wall Street Maths – Dr. Simon Hubbert, Birkbeck

Further information at www.invisiblenumbers.co.uk

Profile for Invisible Numbers

Invisible Numbers Catalogue  

Invisible Numbers showcases the work of 6 artists, a design studio and 1 historian, each responding to the theme of STEAM (Science, Technolo...

Invisible Numbers Catalogue  

Invisible Numbers showcases the work of 6 artists, a design studio and 1 historian, each responding to the theme of STEAM (Science, Technolo...


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