Live in room (2024)
In 2023 I became the inaugural V&A East X Bow Arts Artist Fellow researching local ecologies, materials, and manufacturing histories in Newham at the London Docklands. Working with the Victoria & Albert Museum Research Insitute, (VARI), the V&A archives and V&A Print and 20th Century Furniture Collections, and Newham Photo Archives, I created an installation with print and furniture design, drawing and painting, spatial interventions, and performances. This page documents the process and outcomes of my fellowship.
Growing up, living, and working at the Docklands I’d always felt comfortable with and drawn to the post-industrial landscape. Made up of vacant and derelict buildings of bygone industries nestled between new developments and infrastructures, sitting as close to water as you could possibly get, troublingly close, it continues to be a fascinating place where ecologies, architecture, communities, materials, trade and travel converge. As artist fellow I wanted to find out more about the networks of water and how these connected human, ecological, and material histories locally and globally. Being close to the docks I felt connected by the water to different places that held meaning for me from London to Denmark to the Caribbean, Costa Brava and perhaps even the moon (think Sea of Tranquility – and yes, I know it’s just a name but still). After a series of development residencies from 2021 and 2022 leading to my first institutional solo exhibition the fellowship was the perfect time and place for my practice to deepen in my local area developing situated research based practices for art making.
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Royal Albert Wharf portrait by Edward C Ball. Newham, London (2023).
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Royal Albert Wharf portrait by Edward C Ball. Newham, London (2023).
Adam Moore. Thames side, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Royal Albert Wharf portrait by Edward C Ball. Newham, London (2023).
Over three months I focussed on unravelling the different threads of the fellowship themes. I designed, established, and engaged in process-oriented research activities: diarising ambience at the docks (explained below), V&A archives and collections research, research with Newham Photo Archives, and a curated public programme of workshops and discussions with invited artists, curators, directors, and experts in the fields of art, ecology, and design. Diarising ambience is a research process and generative critical spatial practice. During my fellowship this involved navigating the docklands with an experiential lens walking and cycling, building a map of the area through the senses, and using photo documentation, writing, and choreographic and spatial interventions. I wanted to understand the different dimensions and relations that exist(ed?)(/could be) at the docklands and to explore presence, and the present, as continuous with the past and future. I felt subjectively that, yes, this presence could be experienced and embodied as I navigate the built environment and ecologies and observe the air space at the docklands. I wanted this presence to be embodied not only through my body but in the works that I made. Weaving my research activities with fine art and design and printmaking techniques my fellowship resolved in the presentation of Live in room (2024), a performance installation and spatial intervention of art and design and a meeting place for gathering and discussion exploring ideas within my work in the context where my research emerged and originated, and where my work was created. In this context my studio became a work and a witness and a key hub of my research and design activity.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Timber two leaf folding screen, archival photography, photocopy transfer collage on restoration fabric, timber, hinges 200 x 135cm. Spatial intervention installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Spatial intervention installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
My fellowship concluded with a performance series choreographing with the Docklands’ past, present, and future, Now, Now, Navigate, Navigate. Ambient Scheme of the Docklands Autumn/Winter 2023-24 (2024).
Adam Moore, Now, Now, Navigate, Navigate. Ambient Scheme of the Docklands Autumn Winter 2023-24 (2024). Live performance lecture at Royal Albert Wharf studio, acitivting Live in room (2024) installation.
When I started my residency the studio was almost empty. I needed furniture. During a previous residency – Jerwood UNITe at g39, Cardiff (2022) – I’d learned how to design and make furniture and began making my own. My entry point into designing and making furniture was first through discovering Enzo Mari during my BA in 2007. I made my first designs of his work in 2020. His utopian design philosophy resonates deeply with my practice and lifestyle, and I experience many parallels between his work and my socially engaged creative practice. I knew when I started my fellowship that I wanted to improve my workshop skills and challenge myself to design my own furniture. I knew the context would shape my fellowship research but I didn’t know that the circumstances would have as big of an impact on my research and making as they did. My practice could be described as pragmatic, I’m often synthesising what I see as interconnected complexities towards essential poetic forms and gestures. For me pragmatism makes sense of things and makes art relevant and meaningful. I ordered timber from the production budget and made two tables and two benches from designs by Enzo Mari from his famous DIY book Autoprogettazione (both my copies I’ve borrowed to friends and never seen again! A good resource to have).
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore, designing a living space. Self designs modelled on Enzo Mari’s Autoprogrettazione first published 1974.
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
I had help to finish the benches from local designer Jamsheed Todiwala who had a workshop at Royal Albert Wharf, a key person in the creative community. The benches were more complicated to make than they had initially appeared, and there was a lot of knowledge and experience I didn’t have – but failing forwards I learned a lot from Jam, including the unmarked / missing angle from Mari’s design drawings (“always between 5 and 15 degrees, old school engineering used for bridge design” so I was told). With the benches completed I could finally sit down!
Adam Moore, Studio space over time, Royal Albert Wharf, 2024.
I arrived at the studio with the intention of deepening my embodied, experiential relationship with the local area, embedding myself in community with the pluriformities shaping the docklands now, and finding connections between my own history and identity in relation to this place I’d lived in close proximity to for so long. What is this place and who am I here now? When I wasn’t developing my workshop skills making furniture from Mari’s designs I was experimenting with different ways of noticing, navigating, recording, and embodying the docklands using photography, my senses, and reflective writing exploring how I could observe and archive the experiential, spatial, architectural, ecological, social, and material – the sensory and not strictly sensory dimensions of the docklands. These site-sensitive and situated research activities ran parallel to and continued throughout all my other research activities with the V&A collections, Newham Photo Archives, and my design work connecting me to the life of Royal Albert Wharf and around the docklands now.
My archive intuitively divided into categories:
1. Studio space over time
2. Built environment
3. Ecologies
And category 2 and 3 intuitively divided again into subcategories:
2. Built environment: Water, Public Space, Industry, Homes, Air space
3. Ecologies: Water, Plants flora, Air space
Some of these categories overlapped, for example, water. Sometimes I observed water as having a more direct relationship with architecture and infrastructure, water was shaped by the built environment the or rather the built environment had been shaped around the water, for example, the commercial apartment blocks that had been developed in recent years. At other times I observed water more as a vast, independent force beyond imaginaries of industry – on the south side of the studio where the Thames begins to widen, its banks flanked with unkempt wilderness as the river snakes eastward and eventually out to sea.
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Pump House Square, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, air space. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, air space. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Ecologies, plants flora. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Ecologies, water, air space. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2023).
In preparation for my term of teaching at the University of East London dockland’s campus I’d begun experimenting with different printmaking techniques to expand how my students could apply and experiment with printmaking techniques in their work. There’s debate around the legitimacy of digital photo archives. Although my photo archives are organised and curated collections of accessible images with meta data, there are concerns around the storage and maintenance mechanisms, and long term accessibility, of digital photo archives, and the potential for loss due to hardware failure, file corruption, or accidental deletion, and hardware and software obsolescence and the need for ongoing maintenance to ensure accessibility over time. These are all concerns for physical photo archives too, or any physical archive for that matter – depending archive or collection it could be argued that all materials within them are degrading just at varying speeds – which arguably isn’t necessarily the case for digital archives.
Adam Moore. Collage, archival photocopy transfer test prints. Royal Albert Wharf, Newham, London (2023).
My technical printmaking research informed how I worked with my accumulating photo archive to renegotiate and transform some of this material into physical archival images through the use different printmaking processes. Architects in particular use photocopy transfer to create detailed spatial and architectural images and I wanted to connect and experiment with this tradition in my research documenting the built environment. Below are the first photocopy transfers I made using images from my photo archive. A pretty terrible first attempt to be honest; failing forward I improved my skills using this printmaking process practicing consistently during the fellowship at the UEL print workshop. I’ve included these first prints to show the starting point of the development of my skills with this technique and the evolution of the studio as a space for research and making. The primary colours and composition I like very much. There are a lot of windows to peer through, doorway and turnings to walk through, different kinds of portals to move through at Royal Albert Wharf and all around thee docks that fascinate me and I wanted to show and emphasise these spaces, openings, and frames for seeing and architectural, infrastructural, and ecological choreographies my print design.
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2024).
Adam Moore. Built environment, public space. Royal Albert Wharf, Newham, London (2024).
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2024).
Adam Moore. Collage, archival photocopy transfer test prints. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Studio space with designs in process. Royal Albert Wharf, Newham, London (2023).
The light in the studio at Royal Albert Wharf was okay. Early autumn light reflecting off of the glass buildings around the square outside bounced through the studio windows. The studio windows were huge which was great because the studio itself was always in the shade of the buildings towering around it, so at least I could see how bright it was outside in the square. However, sometimes I felt hyper-visible working alone in the studio which could be uncomfortable. At the same time it was special being able to see the light and weather changing throughout the day and the different people living and working coming and going. Coincidentally, throughout my residency the apartment buildings close to the studio at Royal Albert Wharf were wrapped in a translucent industrial material while builders carried out maintenance work.
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
I’d see the apartments encased in opaque, industrial skin every time I’d go to and from the studio intrigued by what the builders were doing, the different work stations they’d set up outside on the ground floor, and why their work was concealed, what was the big secret?
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
I found pleasure in watching the builders’ choreography, their yellow high-vis’ vests ascending and descending in spirals around the building, up and down and left and right underneath the veil on scaffolding towers they’d built that completely surrounded the building. It wasn’t for some time that it dawned on me that I was looking at the solution to my problem of hyper-visibility and the answer to how I could develop my design skills the entire time. I made a quick design sketch, a point of reference.
Adam Moore, Design for screen I (2023). Watercolour on paper 210mm x 297mm
I was designing a screen to obscure myself in the studio, hide what I was working on when I needed privacy that still let in light – like the material covering the apartment blocks. I was curious and excited about the idea of designing and making something spatial, sculptural, and mobile that I could easily move around the studio. Browsing the V&A collections I found the four leaf folding screen, ‘Tents and figures’, also known as ‘Bathers in a Landscape’, painted by Vanessa Bell for the Omega Workshops in the V&A Furniture and Woodwork Collection. I was taken by surprise by just how much I liked this… Object? Item? Furniture? Artwork? The more I studied it the more I liked it and it really made me think and transported me to another place. The shapes reminded me of bamboo sculptures I’d made for an exhibition. In my installation I was examining tetrahedron pyramid forms in ancient architecture, geometry, and nature. The figures reminded me of how I’d relate to these towering sculptures in my installation and the kinds of energy and movement they evoked. That form had followed me everywhere for a couple of years and here it was again in the shape of the tents with the figures bathing in a landscape, painted on Bell’s screen. I could see myself researching now at the docks, reflected in the figures in landscape.
‘Tents and figures’, also known as ‘Bathers in a Landscape’, painted by Vanessa Bell for the Omega Workshops, 1913.
Another screen that I found in the V&A Furniture and Woodwork Collection was the six leaf folding screen ‘Portrait of the Epps Family’, painted by Lawrence Alma-Tadema and Laura Epps. I visited the gallery to see the screen with the collections curator to learn more about it. From the domestic scene depicted in the painting, the landscape layout, the windows in the background showing parts of another building outside beyond the scene, the different people and those who had been ‘removed’, and the degree of (in)completion there was so much to study, question, and learn the closer I looked.
‘Portrait of the Epps Family’, oil on canvas on wood frame, Lawrence Alma-Tadema and Laura Epps, London, 1870-1871I. V&A Furniture and Woodwork Collection.
After meeting with the V&A Furniture and Woodwork Collections curator and studying the screen on display in the galleries I knew I had to design my own and that I wanted to create three designs and three screens: one focusing on the past, one on the present, and one speculating on the potential and possible future(s) of the docklands. Inspired by Omega Workshops I liked the idea of establishing my won workshop, and inspired by these two very different different painted screens I was curious and excited to experiment, design, and make my own set of screens. The inspiration for my first designs came from my research with Newham Photo Archives.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
From a broad range of research looking at photographs in the Newham Photo Archives I selected six images that I discovered that I felt revealed the varied ecologies, materials, and industrial history of Newham’s docklands: a timber yard – Thames Bank Manhattan Wharf prior to 1900, now West India Quay, close to what is now Canary Wharf; a marine bollard on the north side of King George V Dock from the mid-1980s graffitied with a political statement in Persian – an unexpected and exciting discovery connecting Newham’s docklands with the Arab world and referencing the global geopolitics of the time; the morning of the unveiling of Derrick Richardson-Lee’s peace statue at The Grove, Stratford in 1986; a Young & Marten Builders’ Iron Mongers advert from Wilson and Whitworth’s Almanack 1896, with a very interesting phrase/use of language/text; an image of the Channelsea River View South from Abbey mills c1900; and an image of the iconic Thames Barrier we see today, view from North Bank, 1989. I licensed a broad selection of photographs, including these images from the materials budget and signed the licensing agreement confirming the terms under which these images could be used and waited for the licensed images to be sent to me once the archivists had digitised them and processed my license agreement. When the photographs arrived I began designing a digital collage from the six photographs I’d selected and when I completed my final draft I made my collage into a screen print revealing the industrial, architectural, ecological, social, and material past of Newham and the docklands.
Adam Moore. Embody every requisite draft archival digital collage (2023).
This draft is close to what my final design looks like. Each photograph fascinating in its own right, it was an interesting challenge experimenting with such powerful imagery. Cutting, rescaling, repositioning and composing elements from each of them I was concerned that the result might not be as impactful as the sum of its parts. I was very happy with the final draft of my digital collage, it felt coherent and and balanced which is what I’d aimed for in the process. I loved the composition and the interesting juxtaposition of histories of Newham’s docklands. I was concerned how the digital collage might translate to print but once I’d finished making my screen-prints I was very pleased with the final result. Details were much clearer taking on a new significance, and the scale and materiality of the prints prompted different questions that related to the built environment of the docklands now and and evoked more powerful feelings than I could have anticipated or expected.
Adam Moore. Royal Albert Wharf studio. True acetate negative of section of archival digital collage for screen print. Royal Albert Wharf, Newham, London (2023).
Adam Moore, Embody every requisite (2023) detail. Screen print, archival digital collage, acrylic and oil on restoration fabric.
Adam Moore. Royal Albert Wharf studio with designs in process (2023).
Researching with Newham Photo Archives I discovered that the borough where I was born, lived, and worked was prone to flooding, roughly every fifty years, photo archives showed floods in Newham in 1903 and 1953. The archives didn’t date back much further so it wasn’t possible to find out the frequency of floods beyond the proof that I had. Was Newham overdue a flood? Where did all the water come from and where did it go, what did it bring with it and what did it carry away? I retuned to the V&A archives and collections to see if I could find anything there about the Newham floods. I didn’t find anything related to the Newham floods, but I did discover a fabric print in the Textiles & Fashion Collection, a screen print, “Plankton”, by Gerald Holtom, made in 1951.
Screen printed cotton, 1951, British; Gerald Holtom Ltd. “Plankton”. V&A Textiles & Fashion Collection.
Is this what plankton actually looks like magnified under a microscope? What life forms are there living in the docks now and what do they look like under a microscope? A commission for Newham Word Festival in 2022 saw the collaborative literary and spatial practice collective that I co-founded, Readings & Rituals, perform at the Royal Victoria Floating Garden designed by Biomatrix Water Solutions. I contacted the environmental design company to see what they could tell me, and began researching aquatic plant life growing at the docklands with them. I learned about all the different aquatic flowers and grasses they’d worked with to support the biodiversity of the docklands and found some samples to study under a microscope. From these photomicrographs and some original text I designed a screen print.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming, digital collage for screen print (2024)
I was hypnotised studying the cell forms and remembered how much I enjoyed drawing diagrams of cells in A-Level Biology, so I decided to use drawing and painting to create the final design for the last set of screens speculating on the future of the docklands. I’d planned for the work to be a print and I’d already cut my fabric into thirds to make it easier to register the prints on the print table. Painting and drawing across one large piece of fabric is much easier so I now I had to contend with the logistics of making a painting in a very impractical way and found this a huge challenge. The last screen didn’t get made in the end due to time but the process of observing, painting, drawing and writing with these ecologies was great way to spend time with and embody them in my work. Had I had more time I could have started again, perhaps actually made a print to see what this looked like and then painted it afterwards adding hand drawn details. I think that could be very beautiful and is something I will come back to soon.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Like all research there are avenues I got to look down but didn’t get to travel. I was able to have my fellowship extended by one month because of the initial bumps in the road that come with embarking on something new – The V&A East X Bow Arts Artist Fellowship was a first for the V&A East, Bow Arts, and for me. The following are some of the loose ends I’d like to gather up in the future.
Competition design for bridge, Royal Victoria Dock, London, by Eva Jiřičná, 1996: details of section and elevation.
Adam Moore,
Live in room,
Royal Albert Wharf
(September 2023 – January 2024)
Adam Moore, Study I and Study II (2023). Graphite, watercolour, graphitint on Fabriano paper 297mm x 420mm.
Adam Moore, Now, Now, Navigate, Navigate. Ambient Scheme of the Docklands Autumn Winter 2023-24 rehearsal (2024). Live performance lecture at Royal Albert Wharf studio, activating Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Now. Now. (Navigate. Navigate.) (Ambient Scheme of the Docklands Autumn Winter 2023-24) (2024). Multimedia durational performance installation.
Adam Moore, Now. Now. (Navigate. Navigate.) (Ambient Scheme of the Docklands Autumn Winter 2024) (2024). Multimedia durational performance installation.
Adam Moore, Now. Now. (Navigate. Navigate.) (Ambient Scheme of the Docklands Autumn Winter 2024) (2024). Multimedia durational performance installation.
Adam Moore, Live in room (2024) installation.
Adam Moore, Royal Albert Wharf, 2024
Adam Moore, Royal Albert Wharf, 2024